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:.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Composed by Camille Saint-Saens (1835-1921). Arranged by Kirt Mosier. Classical. Score and parts. Published by Wingert-Jones Publications (WJ.3035081).

Composed by Michael Sweeney. MusicWorks Grade 2. Concert. Score and parts (with online audio). Published by Hal Leonard

Orchestra (Full Score)

SKU: HL.14043216

Orchestra Full Score. Composed by Michael Nyman. Music Sales America. Classical, Contemporary. Softcover. 160 pages. Chester Music #CH60952. Published by Chester Music (HL.14043216).

ISBN 9781783056200. English.

Mic hael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993.

This piece of sheet music runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination.

Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural -constantly change their identity as they pass through different musical 'environments'.

The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A)begins the second section, featuring Brass, in D flat.

The topography of MGV should be experienced without reference to planning, description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs.

By Joseph Winner. Arranged by Jack Bullock. Orchestra. Full Orchestra; Part(s); Score. Belwin Intermediate Full Orchestra. Jazz; Light Concert; Swing. Grade 2.5. 266 pages. Published by Alfred Music Publishing

By Joseph Winner. Arranged by Jack Bullock. Orchestra. Full Orchestra; Score. Belwin Intermediate Full Orchestra. Jazz; Light Concert; Swing. Grade 2.5. 12 pages. Published by Alfred Music Publishing

Composed by John Williams. John Williams Signature Edition Orchestra. Softcover. Published by Hal Leonard

Deluxe Score. Composed by John Williams. John Williams Signature Edition Orchestra. Published by Hal Leonard

Orchestra

SKU: SU.27020085

For Orchestra. Composed by Graham Gordon Ramsay. Orchestra. Study Score. Subito Music Corporation #27020085. Published by Subito Music Corporation (SU.27020085).

Jacob vs. Angel is a piece about crisis of conscience, ambiguity, and misinterpretation expressed through the depiction of a major battle, the goal of which is never made entirely clear. Based on the biblical story, the work is highly programmatic, with each of the six movements reflecting a corresponding stanza from the titular poem by Alice Weaver Flaherty. The piece was originally composed as a vehicle for virtuoso organist Heinrich Christensen, and later orchestrated. The first movement introduces the main musical material--a five note motive, the intervals of which are reorganized to create melodic and harmonic development throughout the piece. The second, third, and fourth movements depict the brutal fight between Jacob and the angel, and lead one to the next without pause. The fifth movement is about the post-battle scene, and the final movement is an epilogue, reframing the ideas from the previous movements. The music elucidates various actions from the Flaherty poem—sand skittering across the desert, aggressive acts of violence and sensuality between the protagonists, the beating of wings, feathers blowing in the wind, etc. But beyond the music's more literal elements, the work is designed to express an abstract state of mind, a sense of unease, and anticipation of what is yet to come. —Graham Gordon Ramsay2(2) 1,1 2 2; 2221; 7perc, hp, cel; stgs Duration: 24'Composed: 2023 Published by: Distributed Composer Jacob vs Angel was composed originally as a solo concert organ work in 2007; the orchestral version was completed in 2023. A live performance of the organ version can be seen at. Performance materials available on rental:.

Orchestra - Grade 1

SKU: AP.20586S

Composed by Doug Spata. MakeMusic Cloud; Performance Music Ensemble; String Orchestra. Highland/Etling String Orchestra. Score. 8 pages. Highland/Etling #00-20586S. Published by Highland/Etling (AP.20586S).

UPC: 038081196602. English.

As the title implies, Wait Your Turn! is full of rhythmic challenges and surprises. Interlocking accompaniments and cadences are designed to help young musicians listen to themselves and each other simultaneously. Everyone gets a turn at the melodies, which contain counting and bowing challenges of their own. Drumset and piano accompaniment parts are included for additional support. Students and audiences will enjoy this piece for its light and breezy style, while orchestra teachers will value the essential musical skills that it encourages. This title is available in MakeMusic Cloud.

Orchestra (Score & Parts)

SKU: HL.4491085

Composed by Henry Mancini. Henry Mancini Concert Library. Movies, Sixties. Published by Hal Leonard (HL.4491085).

UPC: 884088604288. 10.5x14 inches.

Performa nce time - ca. 5:30

Includes: Timothy; March of the Cue Balls; The Swing March; The Great Race March.

Arranged by Sandra Dackow. Conductor's score and set of performance parts for string orchestra (8 - 1st violin, 8 - 2nd violin, 5 - 3rd violin/viola (treble clef), 5 - viola, 5 - cello, 5 - string bass, 1 - piano accompaniment). Series: Orchestra Expressions Series. Published by Alfred Publishing.

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 (Study Score)

SKU: HL.51489064

Study Score. Composed by Franz Joseph Haydn. Edited by Gernot Gruber. Henle Music Folios. Classical. Softcover. G. Henle #HN9064. Published by G. Henle (HL.51489064).

UPC: 840126937640. 6.75x9.5x0.214 inches.

The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracle”, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

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What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
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Orchestra - Grade 3

SKU: AP.48101

Composed by Katie O'Hara LaBrie. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Thanksgiving. Score and Part(s). 124 pages. Duration 4:30. Highland/Etling #00-48101. Published by Highland/Etling (AP.48101).

ISBN 9781470661441. UPC: 038081553986. English.

With Gratitude by Katie O'Hara LaBrie is a flowing yet spirited composition written in memory of a bright youngster who always sought out the good things in life. Perfect for advancing string orchestras, this piece features soaring melodies, rhythmic independence, and higher positions for violin 1 and cello, all while exploring changing modalities in C major and A major. Students will learn to play expressively as they connect to the story behind the piece using the hashtag #yearofgratitude. (4:30) This title is available in MakeMusic Cloud.

Orchestra - Grade 3

SKU: AP.48101S

Composed by Katie O'Hara LaBrie. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 16 pages. Duration 4:30. Highland/Etling #00-48101S. Published by Highland/Etling (AP.48101S).

ISBN 9781470661458. UPC: 038081553993. English.

With Gratitude by Katie O'Hara LaBrie is a flowing yet spirited composition written in memory of a bright youngster who always sought out the good things in life. Perfect for advancing string orchestras, this piece features soaring melodies, rhythmic independence, and higher positions for violin 1 and cello, all while exploring changing modalities in C major and A major. Students will learn to play expressively as they connect to the story behind the piece using the hashtag #yearofgratitude. (4:30) This title available in MakeMusic Cloud.

Orchestra - Grade 1

SKU: AP.45868

Composed by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Form: March. Score and Part(s). 152 pages. Duration 2:15. Highland/Etling #00-45868. Published by Highland/Etling (AP.45868).

UPC: 038081523699. English.

In the tradition of great British wind band marches like British Eighth and Colonel Bogey, this original is intended for beginning orchestra. Students in their first year will find this piece absolutely playable, using only open strings, notes within a one-octave D scale, and simple bowing patterns. Optional beginning percussion and piano parts ensure that British March by Andrew H. Dabczynski will make a perfect opening or closing piece on any concert program. (2:15).

Orchestra - Grade 1

SKU: AP.45868S

Composed by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Form: March. Score. 12 pages. Duration 2:15. Highland/Etling #00-45868S. Published by Highland/Etling (AP.45868S).

UPC: 038081523705. English.

In the tradition of great British wind band marches like British Eighth and Colonel Bogey, this original is intended for beginning orchestra. Students in their first year will find this piece absolutely playable, using only open strings, notes within a one-octave D scale, and simple bowing patterns. Optional beginning percussion and piano parts ensure that British March by Andrew H. Dabczynski will make a perfect opening or closing piece on any concert program. (2:15).