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King Of Pain
Orchestra
Sheetmusic to print
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Game Of Thrones for Orchestra
Orchestra
Full Orchestra - Intermediate - Digital Download Arranged by Javier Martínez …
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Full Orchestra - Intermediate - Digital Download Arranged by Javier Martínez Maya. Score, Set of Parts. 87 pages. Published by Arte Nova Music Lab
Game of Thrones is an American fantasy drama television series created by David Benioff and D. B. Weiss for HBO. It is an adaptation of A Song of Ice and Fire, a series of fantasy novels by George R. R. Martin, the first of which is A Game of Thrones. The show was shot in the United Kingdom, Canada, Croatia, Iceland,Malta, Morocco, and Spain. It premiered on HBO in the United States on April 17, 2011, and concluded on May 19, 2019, with 73 episodes broadcast over eight seasons.<br> <br> Set on the fictional continents of Westeros and Essos, Game of Thrones has a large ensemble cast and follows several story arcs throughout the course of the show. The first major arc concerns the Iron Throne of the Seven Kingdoms of Westeros through a web of political conflicts among the noble families either vying to claim the throne or fighting for independence from whoever sits on it. A second focuses on the last descendant of the realm's deposed ruling dynasty, who has been exiled to Essos and is plotting a return and reclaim the throne. The third follows the Night's Watch, a military order defending the realm against threats from beyond Westeros's northern border.<br> <br> Taken from https://en.wikipedia.org/wiki/Game_of_Thrones
$50.00
46.1 €
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Orchestra
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Game Of Thrones for Orchestra
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Arte Nova Music Lab
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SheetMusicPlus
Watercolors of Earth and Sky (violin and harp - or violin and piano)
Orchestra
Instrumental Duet,Piano Harp,Instrumental Duet,Piano,Violin - Level 4 - Digital Download
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Instrumental Duet,Piano Harp,Instrumental Duet,Piano,Violin - Level 4 - Digital Download SKU: A0.971648 Composed by Jeffrey Hoover. 20th Century,Contemporary,Spiritual. Score and parts. 38 pages. Musicart Publications #4367732. Published by Musicart Publications (A0.971648). Watercolors of Earth and Sky is a work that celebrates the beauty and opportunity of nature through four musical movements. This work is for violin and harp (or piano). The violin part incorporates special techniques that help shape the sound and overall texture of the work. Each of the four movements presents an aspect of the composer’s experience in parks, plains, and woodlands. The music is also colored by the composer’s work as a performer of both classical and jazz music. As with other compositions by Jeffrey Hoover, there is a series of four paintings by Hoover with the same titles that are visual interpretations of the music. Images of these paintings that can be projected in performance are available directly from Hoover. This work is appropriate for performance for a broad audience.Jeffrey Hoover's works - ranging from music for soloist to symphony orchestra - have received recognition through the prestigious Trieste prize, the Russolo Competition, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, grants, publications, fellowships, and more than 20 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement in composition. One unique aspect of Hoover's work is when he combines his compositions with his own paintings, creating synergetic works. He is the author of The Arts and Society: Making New Worlds (Kendall Hunt Publishing).Born on September 11, 1959, in Anderson, Indiana, Jeffrey Hoover holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as a M.M. and Bch.Sc. from Ball State University. His career in higher education has included appointments both as a faculty member and an arts administrator. For more information, please visit his website at https://jeffreyhooverart.wixsite.com/mysite
$24.95
23 €
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Orchestra
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Jeffrey Hoover
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Watercolors of Earth and Sky
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Musicart Publications
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SheetMusicPlus
Greater Is He (Anthem) - Orchestration
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.747202 Composed by Christopher …
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Full Orchestra - Level 3 - Digital Download SKU: A0.747202 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 101 pages. Christopher Brown #4725429. Published by Christopher Brown (A0.747202). About the song: Satan has been decisively defeated. In every battle with the devil, 1 John 4:4 assures us that God is greater. When we feel trapped in sin, God is greater. When we are tempted to doubt, God is greater. When we face trials, God is greater. When we experience great loss or disappointment, God is greater still. He is able to strengthen, help, comfort, and uphold our souls by His power and might regardless of the circumstances in which we find ourselves. This is reason for hope, joy, and praise even in the darkest valley.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1When it seems there’s no way out,He can make a way.In the darkness of my doubt,He’s the light of day.Ev’ry trial that I face,Comes with His mercy and His grace.Pre-Chorus 1Greater is He Who lives in me.Stronger than the plans of ev’ry enemy.From sin and death I’ve been set free.He set me free!Chorus 1This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He that is in me.Verse 2When my world begins to shake,He’s unshakable.When my circumstances change,He’s unchangeable.In ev’ry storm and crashing wave,My God is powerful to save.Pre-Chorus 2Greater is He Who lives in me.Stronger than the plans of ev’ry enemy.From sin and death I’ve been set free.He set me free!Chorus 2This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He that is in me.Bridge 1There isn’t any other,Who has the power, power.The King of Kings, and Lord of Lords,We lift Him higher, higher.Bridge 2We raise our voices louder,Our God is stronger, stronger.The King of Kings, and Lord of Lords,We lift Him higher, higher.Chorus 3This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He,Greater is He,Greater is He that is in me.
$49.99
46.09 €
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Orchestra
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Christopher R
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greater
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Greater Is He
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Christopher Brown
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SheetMusicPlus
Have You Heard? - Set of Parts (Digital Download)
Orchestra
Instrumental Parts, Full Orchestra - Digital Download SKU: LX.30-3732L A Celtic …
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Instrumental Parts, Full Orchestra - Digital Download SKU: LX.30-3732L A Celtic Christmas Celebration. Composed by Joel Raney. Choral Cantatas. Advent, Christmas. Set of Parts (Digital Download). 481 pages. Lorenz Publishing - Digital Sheet Music #e30/3732L. Published by Lorenz Publishing - Digital Sheet Music (LX.30-3732L). Orchestrated by Ed Hogan.Digital Set of Parts for 65/2106L Joel Raney calls on Celtic musical traditions and instrumentation to deliver a refreshing sound for Christmas! The orchestration by Ed Hogan incorporates Irish flutes, drums, acoustic guitar, and fiddle to paint vivid imagery of a beautifully lush and green Irish countryside. Familiar Christmas carols appear, as do some familiar Christmas texts set to beloved Irish and Welsh folk songs. An ethereal opening sets the stage before breaking into an exuberant rendition of I Saw Three Ships. Come, Thou Long-Expected Jesus; Away in a Manger; Gentle Mary Laid Her Child; and the beloved Angels We Have Heard on High all make appearances as the work progresses, culminating with a rhythmic re-imagining of O Come, All Ye Faithful set to the traditional Scottish melody Loch Lomond. One of the highlights of this musical is O Holy Night, written for soloist and choir and set to the timeless tune, LONDONDERRY AIR. Present the Christmas story in a uniquely captivating way with this imaginative work!
$249.95
230.43 €
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Orchestra
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Joel Raney
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Away in a Manger
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Have You Heard? - Set of Parts
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Trumbull Sketches
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1023992 Composed by Kyle Wernke…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1023992 Composed by Kyle Wernke. Contemporary,Folk,Holiday,Patriotic. Score and parts. 109 pages. Kyle Wernke Publishing #2121501. Published by Kyle Wernke Publishing (A0.1023992). Commissioned by the Fort Smith Symphony - John Jeter, Conductor John Trumbull (June 6, 1756 - November 10, 1843) is perhaps the most overlooked of the Founding Fathers of The United States. Born and raised in Connecticut, John Trumbull was the son of Jonathan Trumbull (October 12, 1710 - August 17, 1785), Governor of Connecticut from 1769 to 1784, the only Royal Governor to side with the Americans during the Revolutionary War. Trumbull fought in the revolution, witnessing Bunker Hill and using his artistic abilities to sketch the British Works at Boston. Later, he was appointed second personal aide to General Washington, and in June 1776 he served as deputy adjutant-general to General Horatio Gates. Trumbull resigned from the army in 1777 over a dispute about the dating of his commission. In 1780 Trumbull traveled to London to study under Benjamin West: It was West who urged Trumbull to paint small pictures of the War of Independence, the works which would make him famous (he painted around 250 during his lifetime). In September of 1780, Continental troops captured British agent Major John Andre, after news of this reached Great Britain, Trumbull was arrested in retaliation. He was imprisoned for seven months. After the War, Trumbull again traveled to London, and then to Paris. It was here that Trumbull began work on two of the works depicted in this piece. He made sketches for the Surrender of Lord Cornwallis and, with the help of Thomas Jefferson, the US minister to France, he began working on The Declaration of Independence. In addition to paintings depicting the revolution, Trumbull painted numerous portraits, including those of George Washington, George Clinton (Governor of New York), Alexander Hamilton (the source of the $10 bill), and John Adams. I was tasked with composing a piece which would be educational for the students in attendance. I ended up writing a piece that would have educational material both in its musical construction and its subject matter. Trumbull's use of color, especially darker hues, and the structure of his paintings informed the construction of the piece. Three specific paintings influenced the work: The Capture of the Hessisans at the Battle of Trenton, The Declaration of Independence, and The Surrender of Lord Cornwallis. A recurring theme in the work of Trumbull is how the central act is always depicted at the center, with opposing groups on either side. The piece derives its form from this trait, casting the two large battle sections on the outsides, with the central act of the Revolutionary War in the center (The Declaration of Independence). The only percussion in the piece are drums, lending a certain militaristic feeling to the work, and evoking images of marching armies. Extended techniques are used repeatedly, casting a shade of uncertainty around the military campaigns (Washington's famous crossing of the Delaware and the seige at Yorktown), while The Declaration of Independence is scored in strict time and with more traditional harmonies, solidifying the event as the central moment of American history.
$60.00
55.31 €
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Orchestra
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Kyle Wernke
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Trumbull Sketches
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Kyle Wernke Publishing
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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
92.19 €
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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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestra
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.05 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestra
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.05 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestra
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
23.05 €
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Orchestra
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Claude Debussy
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Extracted Parts
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1018959 Composed by Benjamin Ha…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723. Published by Benjamin Sajo (A0.1018959). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.  The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.  Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer:  Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50
29.04 €
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Orchestra
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Kommos (Lamentation) / "When the World Moved On" - Conductor's Score
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Ha…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
18.44 €
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Orchestra
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
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SheetMusicPlus
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Orchestra
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de lo…
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!<br> <br> The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.<br> <br> One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.<br> <br> There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.<br> <br> According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.<br> <br> After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.<br> <br> The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.<br> <br> Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.<br> <br> Interpretation and etiquette:<br> <br> Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.<br> <br> The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.<br> <br> Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.<br> <br> The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.<br> <br> The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.<br> <br> There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.<br> <br> As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.<br> <br> As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
35.95 €
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Orchestra
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Manuel de Espinosa de los Monteros (1730-1810)
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Spanish National Anthem for Symphony Orchestra
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Music for all Occasions
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SheetMusicPlus
Homage to O'Keeffe for Orchestra
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. …
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Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.
$39.99
36.87 €
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Orchestra
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Sy Brandon
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Homage to O'Keeffe for Orchestra
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Sy Brandon
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SheetMusicPlus
La Línea de la Concepción "La Sinfonía del Silencio"
Orchestra
Full Orchestra - Level 1 - Digital Download SKU: A0.1365197 By Alicia DomÃnguez …
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Full Orchestra - Level 1 - Digital Download SKU: A0.1365197 By Alicia DomÃnguez Arcos Sonay. By Alicia DomÃnguez Arcos. Arranged by Alicia DomÃnguez Arcos. Classical,Contemporary,Instructional,Multicultural,Traditional,World. 82 pages. Alicia Dominguez #949514. Published by Alicia Dominguez (A0.1365197). The charm lies in the fact that complete silence does not occur, where there is an audience you can hear the ambient sound: The sum of the breaths, the small movements, coughs... The sound qualities of the air itself and the reverberation of the room. The spectator suddenly discovers that the piece of music is composed of the sounds that surround him and of which he is not usually aware, including his own breathing, the beating of his heart or even the plaintive sound of his own shoes. In society, noise, as in this case, sound in music is present in our daily lives, forgetting to appreciate and the importance of silence. Silence does not have to give a feeling of fear. Appreciate silence, giving it that perception of inner peace and balance, equally linked to perseverance, that perseverance that occurs with music, with its constancy and persistence making it flow. Thus, just as each musical figure has its corresponding silence representing its same value and duration. Although the painter Pablo Picasso said that you have to learn the rules like a professional to be able to break them like an artist, reaffirming what Don Blas Infante, father of the Andalusian homeland (Spain), said: any paper on the ground must always be read , since any role can be important. Music scores and the time spent making them do not take the degree of value in human beings of this century. When they own it for themselves.https://youtu.be/GvEx1Bn2HS8?si=IW1ZUw1yFcJzz0uf
$7.00
6.45 €
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Orchestra
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Alicia DomÃnguez Arcos Sonay
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La Línea de la Concepción "La Sinfonía del Silencio"
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Alicia Dominguez
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SheetMusicPlus
Noir et Blanc
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.994719 Composed by Darian Stava…
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Full Orchestra - Level 4 - Digital Download SKU: A0.994719 Composed by Darian Stavans. 20th Century,Contemporary,Standards. Score and parts. 66 pages. Music Studio #4321783. Published by Music Studio (A0.994719). Noir et Blanc.Noir et Blanc - Orchestral Score / Album Noir et Blanc by Darian Stavans.Noir et Blanc is a work that was totally conceived for orchestra. As we listen to the album we are intrigued, for the only element lacking is the contrast suggested by the title. Why? The answer is that contrasts do not exist. They are simply the furthermost points in a grayscale that when displayed like a fan shows these extremes and therefore their contrasts. The deeds and acts that flow inside our mask of power come and go in nostalgic melancholy through pain and glory trickling like the water in a brook, where tenderness meets madness. Sometimes everything seems the same even though each element acts differently. This album speaks about that intriguing grayscale and the powerful force that lets it plunge into the depths of human essence and the soul. In the face of facts, seemingly distinct and at the same time so alike, only courage will prove out their differences and make us dare call out the Noir et Blanc, the Black and White, but until that moment comes things will appear to flow in a grayscale. Orchestral work.64 pages.Duration: 39:00Website: www.darianstavans.comemail: darianstavans@gmail.comYouTube Channel: https://www.youtube.com/user/darianstavans/Facebook: https://www.facebook.com/Darian.Stavans1.
$29.99
27.65 €
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Orchestra
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Darian Stavans
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Noir et Blanc
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Music Studio
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SheetMusicPlus
Contagion (Full Album Score)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1121448 By Franco Esteve. By Fr…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1121448 By Franco Esteve. By Franco Esteve. Arranged by Franco Esteve. Classical,Contemporary,Film/TV. Score and parts. 68 pages. Franco Esteve #722619. Published by Franco Esteve (A0.1121448). About Contagion, the music From quarantine life, something painful this way comes, a new, pandemic inspired, life soundtrack… Contagion is a moment, an interruption, signifying an expression of feelings and music that the Covid-19 coronavirus pandemic and quarantine brought to light. It’s a contemporary classical life-track, serving as a soundtrack to the contagion, to its spread, to its mystery, its attack on the body, to our losses during the Covid-19 pandemic and to our future beyond them. As the virus flooded every news outlet, Contagion became an interruption, a mysterious invader, taking over everything, needing to be expressed. It’s a “lifetrack†or “life soundtrack†with its contemporary classical orchestral sounds expressing the feelings and experiences of those first few months of dread and quarantine, through which many of us felt the fear of it all and the actual loss of loved ones. Original Album Release date: May 14th, 2020 Genre: Contemporary Classical / Life Soundtrack • The album length is 9 minutes and 33 seconds About the Score This version of the score includes ALL 5 songs in the album and the instrument selection varies in accordance with the specific composition of each of the songs. The instruments used are: Horn Section, Soprano Trumpet, Bass Drum, Piano, Harp, Tuba, Wine Glasses, Cabasa, Triangle, Violins I, Violins II, Horn, Trumpet, Trombone, Timpani, Crash Cymbals, Cello Section, Trumpet Section, Gong, Cello Solo. I can imagine the songs can work adapted in a number of ways by different groups or a very advanced group of students. It'll be fun to hear how others interpret them. Music included In the package, I've included the full album's music score with each of the individual songs and their instrument parts and the original published songs as a single HQ MP3 (320 kbps), so players can get a feel for my intentions when composing each one. (You can listen to them free at https://francoesteve.com or on your favorite streaming service - links on my website’s album page linked below). The MP3 also includes a cello solo version of Death Is Not the End. Track list 1. Contagion (2:15) 2. The Spread (2:24) 3. Patient Zero (1:26) 4. Infected (1:26) 5. Death Is Not the End (2:02) Composer: Franco Esteve Genres: Contemporary Classical, Modern Classical, 21st Century Level: Advanced The Package includes 1. PDF with the Score The full score for each of the 5 songs in the album. All the individual parts for each song as written. 2. All 5 songs in a single MP3 HQ (320 kbps) format file including the Bonus Cello Only Version of Death is Not the End. Find out more about this album on Contagion's page on the Franco Esteve website here: https://www.francoesteve.com/music/contagion-music-album/ Thank you for your interest in my music. I hope y’all enjoy playing it as much as I did composing it. Don’t forget to keep up to date with everything Franco Esteve: Website: http://www.francoesteve.com/ Patreon: https://patreon.com/FrancoEsteve Facebook: https://www.facebook.com/seefrancoesteve Twitter: https://www.twitter.com/FrancoEsteve Instagram: https://www.instagram.com/seefrancoesteve My music is also available on all major, online music stores and streaming services. I'm a BMI affiliated artist and you can contact me using the contact form at: http://www.francoesteve.com or through Facebook and Twitter. Thank you again and enjoy! :).
$25.00
23.05 €
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Orchestra
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Franco Esteve
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Contagion
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Franco Esteve
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SheetMusicPlus
Mozartina
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Roj…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts. 119 pages. Otoniel Rojas #891863. Published by Otoniel Rojas (A0.1302257). Based on a traditional Merengue tune from Dominican Republic in a Rondó style a'la Mozart, combining Mozart's Jupiter symphony 35th 4-note theme.Originally commissioned by the 'Fundación Filarmónica del Cibao' in  1997. Mozartina is an effervescent overture that paints us a contemporary Mozart, exposed to the melodic and rhythmic resources of the Caribbean identity, fusing the style and spirit of the famous Austrian with a mixed of the rhythmic and harmonic developments of the last 200 years of musical development. The work is structured as Rondo ,taking as its theme the traditional merengue (a traditional Dominican dance) El jarro 'ta pichao using it as melodic material that integrates into many styles and orchestral techniques. The topic is presented in juxtaposition with the monumental melodic motif of the last movement of the symphony ' Jupiter ' . Sometimes we appreciate it as it is , sometimes in inverted or hidden among contrapuntistic passages in striped and woven into different instrumental colors and harmonic richness coated within countless melodic modulations or put into small pieces. The climax part suddenly surrounds us with the classic merengue, where the 'tambora' (traditional dominican percussion instrument) makes appearance and gives it its soul. Meanwhile, in the background we still can hear the theme of 'Jupiter'. There briefly we can discover a 'perico ripiao' (another traditional Dominican dance)with its typical melisma embodied by the horn, we finally get to a climax that concludes with a short cadenza of 'tambora' and the reitaration of the main merengue theme in unison. The work was commissioned in 1997 for the opening concert of the Philharmonic of Cibao and this time receives his first audition by the National Symphony Orchestra.
$9.99
9.21 €
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Orchestra
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Otoniel Rojas
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Mozartina
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Otoniel Rojas
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SheetMusicPlus
La Passerella Di Addio
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1302948 Composed by Nino Rota. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.1302948 Composed by Nino Rota. Arranged by Flavio Regis Cunha. 20th Century,Contest,Festival,Film/TV,Instructional. Score and Parts. 166 pages. Flavio Regis Cunha #892557. Published by Flavio Regis Cunha (A0.1302948). 🎶 Unleash Your Orchestra's Potential with 'Otto e Mezzo for Orchestra'! 🎶Calling all maestros, musicians, and music aficionados! Elevate your performances to extraordinary heights with 'La Passerella Di Addio for Orchestra,' a magnum opus meticulously composed by the legendary Italian film composer, Nino Rota, and brilliantly arranged by the maestro Flavio Regis Cunha.✨ Why 'La Passerella Di Addio for Orchestra' Stands Apart: ✨🌟 Cinematic Grandeur: Immerse your audience in the captivating melodies that defined the golden era of Italian cinema. Nino Rota's timeless composition, brought to life by Flavio Regis Cunha, resonates with emotive richness, painting vivid musical landscapes that stir the soul.🌟 Unmatched Versatility: Break free from the constraints of standard ensemble formats! 'La Passerella Di Addio for Orchestra' is a musical chameleon, seamlessly adapting to the unique dynamics of school orchestras, and professional ensembles. Its adaptive brilliance ensures a performance that is nothing short of spectacular, tailored to your specific setting.🌟 Masterful Arrangement: Dive into the nuances of expertly crafted sheet music. Flavio Regis Cunha's arrangement strikes the perfect balance between complexity and accessibility, catering to musicians of all levels. Whether you're a seasoned virtuoso or a budding talent, this composition challenges and inspires, fostering musical growth.🌟 Spellbinding Storytelling: Every note in 'Otto e Mezzo for Orchestra' narrates a story, evoking emotions that linger long after the performance concludes. From the delicate whispers to the powerful crescendos, experience the enchanting journey that this composition offers, leaving your audience enthralled and yearning for more.🎻 Unlock Limitless Musical Horizons - Get Your Copy Now! 🎻Don't miss this chance to infuse your orchestra with the magic of 'La Passerella Di Addio for Orchestra.' Whether you're orchestrating a divine church recital, a spirited school concert, or a professional orchestral masterpiece, this sheet music is your passport to musical brilliance.🎵 Transform Ordinary Moments into Extraordinary Memories! 🎵Order your copy today and embark on a musical odyssey that transcends boundaries. Let the melodies of Nino Rota and the expertise of Flavio Regis Cunha redefine your orchestra's legacy. Elevate your performances, mesmerize your audience, and create memories that resonate for a lifetime.🔥 **Seize the Baton and Make Your Orchestra's Mark! Order Now! 🔥Level: Advanced intermediate Format: Concert, 9 x 12 inchesSize: 166 pagesContent: Full Score and Parts)PLUS!!! Engraved with Urtext Kapellmeister Music Font.
$89.99
82.96 €
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Orchestra
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Nino Rota
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La Passerella Di Addio
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Flavio Regis Cunha
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SheetMusicPlus
Repetitions
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.939372 Composed by Adam Grim. C…
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Full Orchestra - Level 2 - Digital Download SKU: A0.939372 Composed by Adam Grim. Concert,Contemporary,Standards. Score and parts. 4 pages. Adam B. Grim #5726213. Published by Adam B. Grim (A0.939372). This piece is inspired by Terry Riley's In C. Repetitions is a solo for found objects and The Repeater Orchestra, a free program online that mimics live sounds in real time, and plays them back in a stereo/spacial environment. It has non-standard notation in a way, with single bits written on a staff arranged in an order to play them. The player is given freedom to repeat things as many times as they want, making the piece possible to play in under 2 minutes, to well into the dozens. In my interpretation (shown in the YouTube video), it takes around 11 minutes. This piece is about making a soundscape of repeated patterns, and overlapping and combining them to create one conglomerate. Instruments include: planks of wood, a bucket of water, ceramic tiles, a glass bottle with marbles in it, a can, and a separate glass bottle for hitting. Implements include: a 2 paintbrush, a ring, rubber xylophone mallets, and oak dowel rods with Moleskin wrapped on one tip. Note, I apologize for the feedback near the first third of the recording, I had to adjust the settings, and did not hear the feedback as hard as the computer did!
$4.99
4.6 €
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Orchestra
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Adam Grim
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Repetitions
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Adam B. Grim
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SheetMusicPlus
A Lifetime Ago - Epic and Beautiful Fantasy - Full Orchestra
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1032883 Composed by Sid Acharya…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1032883 Composed by Sid Acharya. Arranged by Jared Lane. 20th Century,Contemporary,Romantic Period. Score and parts. 36 pages. Sid Achary #5765581. Published by Sid Achary (A0.1032883). A fantasy-inspired piece driven by a romantic, epic and lush melody, with a nostalgic and bittersweet sound.Duration: ca. 4:15Instrumentation: 8 Violins I, 8 Violins II, 4 Violas, 4 Celli, 4 Contrabass, Piano, Flute 1, Flute 2, Piccolo, Oboe, English Horn, Clarinet in Bâ™ 1, Clarinet in Bâ™ 2, Bassoon, Horn in F 1, Horn in F 2, Trumpet in C 1, Trumpet in C 2, Trombone 1, Trombone 2, Tuba, Timpani, PercussionA Lifetime Ago was composed by Sid Acharya, an award-winning composer from Australia, and arranged by Jared Lane, an acclaimed composer and established multi-instrumentalist from the United States.This piece paints the story of reflection, and the feeling of looking back at one's life. As the melancholy rushes in, we become sad that life has changed but we also become happy and grateful to have experienced those great times at all.Appropriate to be performed at a variety of events and venues. The mood of this piece does not make it intrusive to church services or formal events. The intermediate difficulty of the performance and readability of the score also makes it ideal for school orchestras.Included in this package is the full symphony score, and all individual parts. Copyright POPCINEMA LLC and SID ACHARYA 2020
$59.99
55.31 €
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Orchestra
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Sid Acharya
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A Lifetime Ago - Epic and Beautiful Fantasy - Full Orchestra
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Sid Achary
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SheetMusicPlus
Short Flight in a Big Balloon
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1490913 Composed by Benny Oschm…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1490913 Composed by Benny Oschmann. 20th Century,Classical,Film/TV,Romantic Period,Video Game. 78 pages. Benny Oschmann #1067696. Published by Benny Oschmann (A0.1490913). Soar to New Heights with Short Flight in a Big Balloon!Take your audience on an unforgettable adventure with Benny Oschmann's Short Flight in a Big Balloon, a captivating orchestral composition that vividly captures the thrill of an airborne journey. From the moment the balloon lifts off the ground, this piece sweeps listeners into a world of wonder and excitement. With sweeping harmonies, uplifting melodies, and moments of suspense, Short Flight in a Big Balloon paints a vivid picture of the highs and lows of an adventurous flight through the skies. Perfect for any concert looking to inspire and delight, this composition is your ticket to a breathtaking musical experience!
$80.00
73.75 €
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Orchestra
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Benny Oschmann
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Short Flight in a Big Balloon
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Benny Oschmann
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SheetMusicPlus
Munamiktia - Score Only
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1208333 Composed by Juan Guerra…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1208333 Composed by Juan Guerra González. Classical,Contemporary. 30 pages. Juan Carlos Guerra Gonzalez #806440. Published by Juan Carlos Guerra Gonzalez (A0.1208333). “Munamiktia†(To marry) is based on the six sones from “Los Chapetones†(a folkloric dance from Panchimalco, El Salvador). “Los Chapetones†is a satiric dance portraying the social constructs of the Colonial time. It represents a wedding between Doña Lucrecia de Castilla and Don Tomás Rainer with the intention of making an alliance between Turkey and Spain. The investigation of this dance and its original music was made possible thanks to Aracely Sánchez (cultural researcher), Marcial Gudiel (folkloric dance researcher), and Concepción Clará de Guevara (anthropologist) for the creation of the work “Panchimalco†in 1982 work that was commissioned by the National Dance School of El Salvador “Morena Celariéâ€. The editors of the “Diccionario de la Música Española e Hispanoamericana†(Dictionary of Spanish and Hispanic Music) found this dance was unique in its genre in America and the Caribbean making “Los Chapetones†something exclusive from El Salvador. For this work, a part of each one of the sones is transformed in its rhythm or intervals to put them in melodies or in lines for the bass that have been harmonized in a different way while interacting with themes created especially for this work. The title, which in Nahuat means to marry, also serves as a reference to the union between the traditional themes used and the composer’s own musical language. Munamiktia (To marry) was written for the Salvadoran Composers Competition organized by the Pan American Symphony Orchestra (PASO) in Washington, DC. Given its originality, the Jury decided, after a long deliberation, to award it second place. The World Premiere will take place during their 21/22 season after PASO resumes activities due to COVID.* The actual World Premiere took place on March 25th, 2023 in Washington D.C. With the Pan American Symphony Orchestra (PASO) conducted by the composer.For parts please visit www.juancarlosguerra.com/munamiktia
$99.99
92.18 €
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Orchestra
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Juan Guerra González
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Munamiktia - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
LACRYMOSA Female Choir
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.1016080 Composed by Gunter Scho…
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Full Orchestra - Level 2 - Digital Download SKU: A0.1016080 Composed by Gunter Scholler. Arranged by Gunter Scholler. Classical,Latin,Multicultural,Praise & Worship,Sacred,World. Score and Parts. 9 pages. Scholler #5791321. Published by Scholler (A0.1016080). Immerse yourself in the exquisite beauty of a female Lacrymosa, a score that exudes peacefulness, tranquility, and transparency. This mesmerizing composition resonates with delicate melodies and ethereal harmonies, painting a portrait of serenity and calm. The female voices intertwine in a gentle dance, creating a captivating and deeply moving musical experience. Perfect for choirs and vocal ensembles seeking a piece that evokes emotion and showcases the grace of female voices, this score offers a unique opportunity to explore the depths of heartfelt expression. Embrace the enchanting atmosphere and unleash the power of this Lacrymosa, as it transports both performers and listeners to a world of profound emotion and serene beauty.Schollermusic
$12.90
11.89 €
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Orchestra
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Gunter Scholler
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LACRYMOSA Female Choir
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Scholler
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SheetMusicPlus
Stopping by Woods (Robert Frost) – FULL SCORE (FULL ORCH)
Orchestra
Full Orchestra - Digital Download SKU: A0.799680 Composed by Dave Gardner. Christma…
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Full Orchestra - Digital Download SKU: A0.799680 Composed by Dave Gardner. Christmas. Score and parts. 19 pages. D. M. Gardner Music #5454321. Published by D. M. Gardner Music (A0.799680). A picturesque setting of Robert Frost's famous poem, Stopping by Woods on a Snowy Evening for SATB Chorus and Full Orchestra. Each moment, carefully painted with music, illustrates the speaker's emotional journey from despair, to hope, to perseverance. An excellent setting for winter or Christmas concerts!***THIS PURCHASE IS FOR THE FULL SCORE ONLY (FULL ORCHESTRA). INSTRUMENTAL PARTS AND CHORAL SCORE SOLD SEPARATELY.***Making the score, choral score, and parts available separately means it is much easier and affordable to replace or add music as needed!
$35.00
32.27 €
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Orchestra
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Dave Gardner
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Stopping by Woods
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D. M. Gardner Music
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SheetMusicPlus
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