Download Digital Sheet Music of Duration: for Orchestra

Duration:
Orchestra

Symphonic Suite (parts only) Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.1026839 Composed by Dale Dykins…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.1026839 Composed by Dale Dykins. 20th Century,Classical,Contemporary,Patriotic. Score and parts. 168 pages. Burke & Bagley #630329. Published by Burke & Bagley (A0.1026839). Work on the Symphonic Suite was started in the summer of 1946, after composer Dale Dykins returned to the College of Music of Cincinnati following more than four years of military service. In 3 movements: I. Allegro Tranquillo, Allegro Vivace - Duration: 6:30 II. Adagio (Elegy) - Duration: 4:30 III. Moderato, Allegro Vivace - Duration: 5:30. Instrumentation: 3222 4321 Timp Perc & Strings.
$60.00 54.89 € #Orchestra #Dale Dykins #Symphonic Suite #Burke & Bagley #SheetMusicPlus

Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). 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 â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™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 Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ 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).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ 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. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ 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 â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

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 â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™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 Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ 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).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ 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. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ 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 â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

The One Upstairs, A Comic Opera in One Act, Full Orchestral and Individual Parts Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.730443 Composed by James Nathan…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.730443 Composed by James Nathaniel Holland. Broadway,Contemporary,Holiday,Musical/Show,Opera. 358 pages. James Nathaniel Holland #3482947. Published by James Nathaniel Holland (A0.730443). Full Score and Individual Parts, including singers and actors and stage directions. (Vocal Piano Score and Orchestral Score Only sold separately). THE ONE UPSTAIRS A Comic Opera in One Act Opera (in English) (Opera duration: 1 hour) Â Duration: 45 minutes Â Perfect vehicle for coloratura and Broadway Alto. Combine with Holland operas called A New York Triptych The Discontented Housewife (Farce) and O Holy Art (tragedy) (both sold separately) for a full length evening of fun and accessible American contemporary opera. Â Instrumentation: Picc, Fl12, Ob12, Cl12, Bsn, Hrn12, Trp, Trom, Tim, Perc (or Drm set), glock, piano, strings Â Singers: Coloratura, Alto, Soprano, Baritone, 1 Actor Speaking part, 3 non-singing extras. Â BRIEF SYNOPSIS: An unsuspecting woman moves into a volatile apartment situation with a crazy neighbor above who keeps banging on the floor at the slightest provocation. It's war! Find out who wins and how in the end. Perfect opera for high school, university or young voices with strong coloratura and alto actress.
$60.95 55.76 € #Orchestra #James Nathaniel Holland #The One Upstairs, A Comic Opera in One Act, Full Orchestral and Individual Parts #James Nathaniel Holland #SheetMusicPlus

The One Upstairs, A Comic Opera in One Act, Full Orchestral Score Only Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.730442 Composed by James Nathan…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.730442 Composed by James Nathaniel Holland. Broadway,Contemporary,Musical/Show,Opera. 140 pages. James Nathaniel Holland #3482897. Published by James Nathaniel Holland (A0.730442). Full Score Only (Vocal Piano Score and Orchestral Score with individual parts sold separately). THE ONE UPSTAIRS A Comic Opera in One Act (Opera in English) (Opera duration: 1 hour) Piano Vocal Score Â Â Duration: 45 minutes Â Perfect vehicle for coloratura and Broadway Alto. Combine with Holland operas called A New York Triptych The Discontented Housewife (Farce) and O Holy Art (tragedy) (both sold separately) for a full length evening of fun and accessible American contemporary opera. Â Instrumentation: Picc, Fl12, Ob12, Cl12, Bsn, Hrn12, Trp, Trom, Tim, Perc (or Drm set), glock, piano, strings Â Singers: Coloratura, Alto, Soprano, Baritone, 1 Actor Speaking part, 3 non-singing extras. Â BRIEF SYNOPSIS: An unsuspecting woman moves into a volatile apartment situation with a crazy neighbor above who keeps banging on the floor at the slightest provocation. It's war! Find out who wins and how in the end. Perfect opera for high school, university or young voices with strong coloratura and alto actress.
$21.95 20.08 € #Orchestra #James Nathaniel Holland #The One Upstairs, A Comic Opera in One Act, Full Orchestral Score Only #James Nathaniel Holland #SheetMusicPlus

From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.730401 Composed by James Nathan…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.730401 Composed by James Nathaniel Holland. Contemporary,Musical/Show,Opera. Score and parts. 37 pages. James Nathaniel Holland #3142471. Published by James Nathaniel Holland (A0.730401). Tenor Aria From the Hillside from the 21st Century Opera ON THE WINGS OF THE SCARLET MESSENGER (Based on the Henry James novel, On the Wings of a Dove) here with full orchestral accompaniment. (Full score in concert pitch, voice, and individual parts included) This accompaniment can also be used with the solo and male ensemble that is contained in the full vocal score.Instrumentation: pic, fl12,ob12,eh,cl12,bcl,tenor sax, bsn12,hrn1234, trpt 12, trmb, btrm, timp, hand cym/egg shaker, hrp, voice, stringsDuration: 4:00 minutes (Sample here begins with extra measure) Video presentation at: https://www.youtube.com/watch?v=u47yb4kiE0Y Curious? Listen to the complete opera playlist en demo at: http://www.youtube.com/watch?v=Rr5x_aXnUMM&list=PLEcbVsA36MCvHG_MTBdv7x2UNjwG27sMa Adaptation, Libretto, and Music by James Nathaniel Holland Performance: James Nathaniel Holland, Tenor Orchestra: CH Symphony Group (Complete Duration: 2 hours) BRIEF SYNOPSIS: In the urban capital of Soon Rafa, lovers Mariana (Soprano) and Kai (Bass) cannot be together because of Mariana's disapproving wealthy Aunt (Mezzo-Soprano). Torn between love and financial security, an unlikely opportunity arises when a dying rich Occidental, Justin (Tenor) reveals his romantic interest in Kai. The couple plot a pretense to inherit Justin's money and be free to marry and live together. This aria occurs in Act I, Scene 2. Justin (tenor) has just hired a group of porters, including Kai (bass), to guide him through the jungles of the island to photograph the mythical bird, the Scarlet Messenger. Although the men insist it is a legend, Justin inspires them to persevere with him. Aria Libretto, Justin (tenor singing): From the hillside, something breaks free. Is it real? Or just illusion? Oh how I have to see you, feel that beauty. Upon your wings our souls must one day fly to heaven. Never doubt that you can find him, hiding among your dreams. For when you feel all hope is gone, that's when you spot his red wings, fiery bright. (to the group of porters) So come with me, all's not in vain. It is real, just not illusion. The day is fading fast, oh, so quickly. We'll be the first to see that blazing path of fire. The Scarlet Messenger! Oh how that would be the greatest gift of my life. Composer website: http://lacoronadelossantos.net/jamesnathanielholland.html Music, Lyrics, Performance Copyright 2017 James Nathaniel Holland.
$15.95 14.59 € #Orchestra #James Nathaniel Holland #From the Hillside, Aria for Tenor with Orchestral Accompaniment from On the Wings of the Scarlet Mes #James Nathaniel Holland #SheetMusicPlus

MASSive - A Mass in Rock (Performance Recording) Orchestra

Bass Guitar,Choir,Drum Set,Electric Guitar - Digital Download SKU: A0.1067077 By Pa…(+)

Bass Guitar,Choir,Drum Set,Electric Guitar - Digital Download SKU: A0.1067077 By Paul Barker Music. By Paul Barker. Classical,Contemporary,Contest,Festival,Praise & Worship,Rock. Full Performance. Duration 689. Paul Barker Music #6249417. Published by Paul Barker Music (A0.1067077). This dynamic concert spectacular is scored for Soprano Solo, SAB Choir, Lead Guitar, Rhythm Section and Orchestra and sets selected elements of the traditional Mass to an exciting array of contemporary music. Built on its hugely successful predecessor, RoQuiem, it's guaranteed to make your musical performance an electrifying experience! Choirs can easily perform this â€˜choral explosionâ€™ with just piano or add a rhythm section for that big rock feel. Full orchestration is also available for that electrifying, epic sound everyone enjoys. Suitable for schools, youth choirs and professional performers alike.ProfessionalÂ Accompaniment MP3 and Full Orchestration available on this site and from www.paulbarkermusic.com for Rehearsals and Performances. â€‹Duration: 20:00 Level: Intermediate/Advanced (UK Grade 6+ & USA 3+) Occasion: Large Concert/Main Event - Formal/Informal - Celebration - Finale Orchestration: SAB Choir - Soprano Soloist - Full Orchestra - Rock Band Feat. Lead Guitar Solos
$5.95 5.44 € #Orchestra #Paul Barker Music #MASSive - A Mass in Rock #Paul Barker Music #SheetMusicPlus