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A.G. Harmon
Orchestra
Sheetmusic to print
14 sheet music found
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1
G - Every Day Warm-Ups for Full Orchestra
Orchestra
Full Orchestra - Digital Download SKU: A0.944932 Composed by Timothy Bandy. Contemp…
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Full Orchestra - Digital Download SKU: A0.944932 Composed by Timothy Bandy. Contemporary,Instructional. Score and parts. 44 pages. Timothy Bandy #5209975. Published by Timothy Bandy (A0.944932). One of a set of twelve Warm-Ups, each focused on a single Key Center. These warm-ups will help your ensemble become comfortable with all 12 Keys. Each Key Center has a variety of scales and arpeggios built around that Key Center, so that players are learning to play in other keys diatonically and chromatically around the Key Center. 15 Exercises Plus An Harmonic Progression 1/2 Step Long tones: Descending, Ascending 5 Note Major/Minor Scales: Descending, Ascending Whole tone scales: Ascending, Descending Blues Scale 5 Chromatic Scale Exercises 2 Diminished Scale Exercises 3 Note Arpeggios: Ascending-Major/Minor, Descending-Major/Minor Harmonic Progression Parts included in Conductor’s Score Flute, Oboe, Bb Clarinet Trumpet, F Horn, Trombone, Tuba Violin, Viola, Cello (Bassoon), Dbl Bass (Rhythm) Piano, Mallet Percussion Also Includes Parts for… Alto Sax, Tenor Sax (Bass Clarinet), Bari Sax
$10.00
8.99 €
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Orchestra
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Timothy Bandy
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G - Every Day Warm-Ups for Full Orchestra
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Timothy Bandy
#
SheetMusicPlus
Concerto in G Minor for Trombone and Orchestra
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.809786 Composed by Robert E. Pr…
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Full Orchestra - Level 5 - Digital Download SKU: A0.809786 Composed by Robert E. Proctor. 20th Century,Contemporary. Score and parts. 165 pages. R. E. Proctor #3003007. Published by R. E. Proctor (A0.809786). The G Minor Concerto for Trombone follows the standard format of fast – slow – fast movements. The first being Adagio – Andante and is entitled Variations. The slow or 2nd movement – Lento - is in 6/8 meter and is entitled Remembering the ‘60’s. The movement is based, in part, on a chord progression to a popular song from the 1960’s. The 3rd movement, entitled Now, is up tempo and rhythmic. It’s harmonic structure based in a jazz-like chord progression. It is bright, thoughtful, and sometimes a bit moody. Approximate length 17 minutes and 55 seconds.
$19.95
17.94 €
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Orchestra
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Robert E
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Concerto in G Minor for Trombone and Orchestra
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R. E. Proctor
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SheetMusicPlus
CONJUNCTION: The Christmas Star of 2020
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers…
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
85.42 €
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Orchestra
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Star of 2020
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WheatMyer Music
#
SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, score only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry PÃ…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95
35.02 €
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Orchestra
#
Thierry Pélicant
#
Thierry Pélicant: Concerto for contrabass and orchestra, score only
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry PÃ…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95
26.93 €
#
Orchestra
#
Thierry Pélicant
#
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
with their absences we mourn
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1074986 Composed by Nathan Groc…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1074986 Composed by Nathan Grocholski. Classical,Contemporary. Score and parts. 115 pages. Nathan Grocholski #679248. Published by Nathan Grocholski (A0.1074986). The past year has been filled with collective grief throughout the entire world. In some way or another, the global pandemic of 2020-21 has affected each one of us in our own way. In this piece, I illustrate the five stages of grief; denial, anger, bargaining, depression, and acceptance. The entire piece is harmonically based on two pitches, E and G-sharp. In the denial and anger stage of this work, this is characterized by a C augmented chord. Once the music finally makes sense of this loss, each of the instruments begin to play off each other; as part of the bargaining. About two-thirds of the way into the entire composition, the piece dramatically slows down and the E and G-sharp chord returns, only this time with C-sharp to represent a minor chord. The texture is heavy to represent depression. At measure 201, the flute enters with a melody that gradually grows, symbolic of accepting the loss as the texture increases. The final phrase of this piece ends with the true acceptance of this loss, but the grief has not completely dissipated. It shrinks, but still remains. The opening section’s E and G# are retained in the final chord of the composition to show that grief remains. But they are now part of an E major triad, suggesting acceptance and moving forward.
$5.00
4.5 €
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Orchestra
#
Nathan Grocholski
#
with their absences we mourn
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Nathan Grocholski
#
SheetMusicPlus
Festival
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1119919 By Mike Lyons. By Mike …
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Full Orchestra - Level 4 - Digital Download SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #721269. Published by Lyons Music Services (A0.1119919). Festival:(Time 7:05) This is an original, previously unpublished piece, composed specifically for the ICF festival 2022. It is a programmatic piece in 3 sections, with each section being a description of some aspect of the word Festival. I have taken the broadest definition of the word festival to give as much scope for variety as possible. The first section opens with ‘sunrise’ on the day of the festival, shown by long-held open fourth chords, with the snapping of the violin pizzicatos (perhaps) being the rattle of tent lines/guys. The bass clarinet solo then shows people waking up and stretching, yawning and just before Letter A, the descending figures throughout the ensemble bring us all together to start the festival. From Letter A, one sets off at a marching pace through the crowds. We hear a mish-mash of vendors’ calls overlaying each other, repeating variations of the same motif and this little tune develops as it moves around the festival site, sometimes loud and sometimes faint. At some point, of course, arguments break out (e.g. Letter B between the strings and brass), but generally, the mood is business-like. At Letter C, there comes a parade of minstrels through the field which eventually fades off into the distance. At Letter D, we look at a different kind of festival. Not necessarily religious, but certainly spiritual. The harp and bell sounds evoke far-eastern temples while the string harmonics evoke an eerie stillness which is broken only by the melodic fragments (based on the 4ths of the first section) which pass around the orchestra. The theme is first heard on the Cor Anglais (echoed by the harp) which gives it a warmer, less piercing, sound than the oboe. The quartal chords at b.149 denote the vast mysteries of the cosmos. As our gaze widens, we are suddenly brought back to Earth with a rush as yet another kind of festival is evoked. This time we are looking briefly at the Indian subcontinent. Where fakirs charm snakes and young boys climb ropes only to disappear. The third and final section returns us to the British Isles, where the Celts are making merry in a festival. There is dancing, singing, feasting and drinking a-plenty. And, just when you think it’s all over, there’s a final push to get another dance going. The final chords are a reminder of the opening as we finish our revels as the sun descends below the horizon in a beautiful sunset.
$55.00
49.46 €
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Orchestra
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Mike Lyons
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Festival
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Lyons Music Services
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SheetMusicPlus
Coventry Carol for Orchestra
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.979772 Composed by Anon. Arrang…
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Full Orchestra - Level 3 - Digital Download SKU: A0.979772 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,Traditional. Score and Parts. 44 pages. Monkspath Music #6079181. Published by Monkspath Music (A0.979772). The Coventry Carol originates from a medieval mystery play entitled The Pageant of the Shearmen and Tailors. The play depicts the Christmas story, from the Annunciation (where the Angel Gabriel appears to Mary), to the Massacre of the Innocents (where King Herod of Judea orders the death of all male infants near Bethlehem under the age of two). It is this tale that the Coventry Carol depicts, taking the form of a lullaby sung by the mothers of the murdered children. As is appropriate, the music is in a minor key – this arrangement uses G minor and D minor as a homage to well-known harmonisations by Thomas Sharp and Henry Walford Davies. It is unknown when the words were first set to music, but a proposed date is 1591, or earlier! Other interesting musical features include the use of a ‘Picardy third’, and ‘false relations’, contributing to the haunting quality of this enduring piece, both in the heart of the English Midlands, and further afield. This arrangement is suitable for all orchestras of beginner-intermediate ability or higher. There is plenty of interest for both experienced players, and for newcomers. The instrumentation is designed to facilitate both a full sound, but also for flexibility, which is often desired by school, youth, and amateur orchestras. For further pieces, view the Monkspath Music catalogue and click here!
$39.99
35.96 €
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Orchestra
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Anon
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Coventry Carol for Orchestra
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Monkspath Music
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SheetMusicPlus
Concerto in Bb Major for Double Bass and Orchestra
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.809714 Composed by Robert E. Pr…
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Full Orchestra - Level 4 - Digital Download SKU: A0.809714 Composed by Robert E. Proctor. 20th Century,Contemporary,Jazz. Score and parts. 128 pages. R. E. Proctor #2102129. Published by R. E. Proctor (A0.809714). A concerto for Double Bass and orchestra in the traditional fast - slow – fast concerto format. While not overly challenging for the bass soloist, it does explore, to a degree, the upper reaches of the instrument as well as sounding the beautiful low range. The first movement is that might be called Neo – Classical, opening with an 8-measure solo in a Largo or slow tempo. The tempo then changes to Allegro (fast) for the balance of the movement. The movement ends as it began with the double bass playing alone. The second movement is a jazz waltz. In 9/8, it opens with the soloist playing pizzicato against a rhythmic cord progression. The bass and cello sections pick this up to provide a ground upon which the balance of the movement is played over. The second movement is in the relative minor of Bb which is G minor. A haunting melody is introduced by the bass and doubled by the strings. This melody is replayed by various instruments as the Bass Soloist plays variations on this theme. The harp and the bass solo end the movement. The third movement leans toward French Impressionism. This movement is Andantino; however, it is a spirited. Written in cut time, where the half note equals 92 beats per minute. The melody is introduced by the woodwinds with the harp accompanying. The strings and brass join in as the woodwinds repeat the melody. Finally, the bass solo takes charge of the melody using it as a theme and variation. The harp is used extensively in this concerto providing harmonic, melodic, and rhythmic support for the bass. Written in 2015, the concerto is a new work, however, it is not experimental music. It uses the standard orchestral instruments playing in the standard fashion. It is replete with modern harmonic sounds and chord progressions. As concerto's go, this one is not overly difficult providing the bassist with a starting point as a soloist. It does require the soloist to have some mastery over the instrument as the music traverses most of the instrument’s range. Performance time is approximately 13 minutes and 10 seconds.
$19.95
17.94 €
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Orchestra
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Robert E
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Concerto in Bb Major for Double Bass and Orchestra
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R. E. Proctor
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
89.92 €
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Orchestra
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
There Is Sweet Music
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.787361 Composed by Edward Elgar…
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Full Orchestra - Level 4 - Digital Download SKU: A0.787361 Composed by Edward Elgar. Arranged by Greg Bartholomew. 20th Century,Concert,Standards,World. Score and parts. 22 pages. Burke & Bagley #4793345. Published by Burke & Bagley (A0.787361). This is an orchestra arrangement of Elgar's choral setting of the Tennyson poem, There Is Sweet Music. Scored for single winds, horn in F, and strings. 1111 1000 Strings. Duration approx. 3'45. Among the best-known compositions of Sir Edward Elgar (1857-1934) are his orchestral works, the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies among them. He is also known for his choral works, including The Dream of Gerontius, chamber music and songs. Elgar’s 1907 set of Four Part Songs, choral miniatures for unaccompanied mixed chorus, are some of the most challenging in the repertoire. The first of these, setting a poem by Alfred, Lord Tennyson (1809-1892), There Is Sweet Music presents a particularly special challenge to the singers, as apparently the first music ever published composed in two simultaneous keys. The men are in G major throughout, while the women are in A-flat major, two harmonically distant keys. Nevertheless, the music never sounds particularly dissonant and the effect is gentle. Choral conductor Dr. Gary D. Cannon noted an orchestral quality in Elgar’s choral writing and suggested the possibility that There Is Sweet Music might be transcribed for orchestra, giving the men’s parts to the strings and the women’s parts to the winds. Composer Greg Bartholomew accepted this challenge and produced this arrangement.
$35.00
31.47 €
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Orchestra
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Edward Elgar
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There Is Sweet Music
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Burke & Bagley
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SheetMusicPlus
Ponder Anew
Orchestra
Full Orchestra - Digital Download SKU: A0.976722 Composed by LOBE DEN HERREN. Arran…
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Full Orchestra - Digital Download SKU: A0.976722 Composed by LOBE DEN HERREN. Arranged by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 64 pages. WheatMyer Music #4808643. Published by WheatMyer Music (A0.976722). Joachim Leander's Praise to the LORD, the Almighty, as translated by Catherine Winkworth, has consistently been one of the most published hymns in the English language since the mid-20th Century. Its anonymously composed tune, LOBE DEN HERREN, almost exclusively paired with this text since the 17th Century, is also much loved. Even J.S. Bach found it suitable to feature in his 137th cantata. The title of this arrangement, Ponder Anew, as taken from the commonly used third stanza of the hymn, Ponder anew what the Almighty can do, invites one to consider afresh the attributes and works of Almighty God as one listens to this completely new setting of the tune. This arrangement for orchestra features three variations of the complete hymn tune utilizing metrical and harmonic changes to maintain focus on the tune and its text. These are bracketed via repetitions of the first five tune pitches in harmonic planing over a crescendoed pedal tone producing steadily increasing tension with unexpected resolutions of the beginning and concluding phrases. The music in not particularly difficult and should be readily playable by high school or higher level musicians. Yet, both musicians and audience will find the work interesting and enjoyable with music that reflects the majesty and mystery of its subject. Robert Myers S.D.G.INSTRUMENTATION Picc, Fl1, 2 Oboe 1, 2 Bb Cl 1, 2 + Bass Cl Bsn 1 Hn 1, 2 Tpt 1, 2, 3 Tbn 1, 2, 3 Tuba Timpani Perc. 1 (glock, crash cym, sus cym, ride cym, mark tree, claves, tam tam) Perc. 2 or Drum Set (snare, bass drum, toms (lo/mid/hi), crash cym, finger cym or triangle, ride cym, sys cym) Vln 1, 2 VlaVC DB
$75.00
67.44 €
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Orchestra
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LOBE DEN HERREN
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Ponder Anew
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WheatMyer Music
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SheetMusicPlus
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
$9.99
8.98 €
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Orchestra
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobscot River
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Thomas Oboe Lee
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SheetMusicPlus
007 - From the 1963 motion picture 'FROM RUSSIA WITH LOVE'
Orchestra
Full Orchestra - Advanced Intermediate - Digital Download By John Barry. Arranged by …
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Full Orchestra - Advanced Intermediate - Digital Download By John Barry. Arranged by Gregory John Harper. Score, Set of Parts. 56 pages. Published by Gregory Harper
Programme notes: Although John Barry had written 50% of the original 'James Bond' theme for 1962's Dr. No (and orchestrated the whole thing), he felt the need to create a new piecefor 007's second on-screen outing that was entirely his own. Using Elmer Bernstein's'Magnificent Seven' theme as inspiration, he crafted a tune that was full of adventure and awe. Although the '007' theme presented here was not adopted by the cinema-goers as the definitive Bond music, it demonstrates Barry's ability to orchestrate and compose in the style of the classic 40s & 50s Hollywood pictures. The theme has been used in several Bondmovies since - mainly as a secondary theme for scenes that wish to depict Bond's heroism more than his swagger and charisma.<br> <br> Conductor's Notes: When the strings take the melody at 'D', they should 'soar'! While the piece lacks melodic or harmonic development, it does show off each section of the orchestra.Make sure all dynamic markings are strictly adhered to as the melody may get overpowered otherwise. The lead trumpet part is a transcription of Derek Watkins' original performance and is very high in places. In the event of having no harpist, the glissandos may be played on a transposed electronic keyboard so thatthe white notes are tuned to a E Major scale (transpose up a major 3rd). The rest of the harp part should be played on a non-transposed keyboard. The piece should fade out to nothing so make sure all eyes areon the conductor as they will need to guide each player through the dynamic changes from 'G' onwards.
$69.99
62.93 €
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Orchestra
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John Barry
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007 - From the 1963 motion picture 'FROM RUSSIA WITH LOVE'
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Gregory Harper
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SheetMusicPlus
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