Download Digital Sheet Music of Let's Do It for Orchestra

Let's Do It
Orchestra

Flute Concerto The Hummingbird Full Orchestral Score and Individual Parts Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.730455 Composed by James Nathan…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.730455 Composed by James Nathaniel Holland. Contemporary,Jazz. 217 pages. James Nathaniel Holland #3545937. Published by James Nathaniel Holland (A0.730455). Full Orchestral Score and Individual PartsA New Concerto for Flute and Orchestra The Hummingbird from contemporary American composer James Nathaniel Holland in three movements. A fun and light-hearted piece. Why the hummingbird? Those cute, little, delicate creatures that just want to go about their business admiring the flowers. After living in Costa Rica for some time it couldnâ€™t be farther from the truth, they are aggressive birds that pick a fight with anything that comes into their territory. But letâ€™s talk about this concerto. It first began with the composerâ€™s desire to write a concerto for flute. Influenced by the 3/8 rhythm of the piano sonatas of Alessandro Scarlatti. Hence, the first movement was born with its sort of here, there, and here again quality which reminded me of the many hummingbirds that Iâ€™ve seen in Costa Rica. The first movement also contains a quality of jazz to it and is a nice addition to the flute concerto repertoire. The second movement is slow and straight forward. It is relax time that only a flute can evoke. The third is a sort of Mozart styled third Rondo movement. But as you will listen there are some elements that have nothing to do with Mozart. The harmonies are modern as well as some of the rhythmic aspects.Â
$45.95 41.46 € #Orchestra #James Nathaniel Holland #Flute Concerto The Hummingbird Full Orchestral Score and Individual Parts #James Nathaniel Holland #SheetMusicPlus

Full Orchestra - Level 2 - Digital Download SKU: A0.896908 Composed by Marcelo Torca. Arranged by Marcelo Torca. Contemporary,Jazz. Score and parts. 90 pages. Marcelo Torca #708195. Published by Marcelo Torca (A0.896908). Este livro Ã© uma suÃte, composto de cindo a sete de janeiro de dois mil e dezesseis, uma mÃºsica para orquestra sinfÃ´nica, para bateria, solo instrumental, onde pode-se tocar apenas um instrumento, ou tocar todos. No Solo Instrumental hÃ¡ os instrumentos musicais: piano; teclado; acordeÃ£o; escaleta. No Solo Instrumental II hÃ¡ os instrumentos musicais: flauta-doce sopranino; flauta-doce soprano; flauta-doce contralto. Essa data, Ã© a de inÃcio do meu aprendizado musical, foi quando em Barueri, Estado de SÃ£o Paulo, Brasil, comecei a estudar piano. No ano de dois mil e dezesseis, sei tocar vÃ¡rios instrumentos musicais, componho, alÃ©m de ter projetos desenvolvidos como: Grupo Instrumental; Curso de MÃºsica Gratuito; Orquestra Grupo Instrumental; Orquestra SinfÃ´nica; Orquestra de Sopro SinfÃ´nica; Quinteto Marcelo Torca; RÃ¡dio MACRISAN. TambÃ©m participo da Escola de MÃºsica MACRISAN. AtravÃ©s do Clube de Autores, possuo em torno de duzentos livros lanÃ§ados, atravÃ©s da CD Baby, sÃ£o duas dÃºzias de Ã¡lbuns musicais aproximadamente. Deste livro, hÃ¡ um Ã¡lbum musical, onde hÃ¡ mais mÃºsicas gravadas, incluindo mÃºsica eletrÃ´nica e improvisaÃ§Ãµes ao piano. This book is a suite composed of five to 7 January two thousand and sixteen, music for symphony orchestra, for battery, instrumental solo, where you can play only one instrument, or touch everyone. Ground Instrumental there are musical instruments: piano; keyboard; accordion; melodica. Ground II Instrumental there are musical instruments: flute sweet sopranino; flute, soprano; flute sweet contralto. This date is the start of my musical learning, it was when in Barueri, SÃ£o Paulo, Brazil, began to study piano. In the year two thousand and sixteen, I can play various musical instruments, compose, and has developed projects as: Instrumental Group; Free Music course; Orchestra Instrumental Group; Symphonic Orchestra; Orchestra Symphony blow; Marcelo Torca quintet; Radio MACRISAN. Also participate in the School of Music MACRISAN. Through the Authors Club, we have around two hundred books released through CD Baby, are two dozen musical albums about. This book, there's a musical album, where there are more recorded music including electronic music and improvisation at the piano.

Brahms Scherzo, opus 4, for Orchestra Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.935330 Composed by Johannes Bra…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.935330 Composed by Johannes Brahms. Arranged by Aere Greenway. Romantic Period. Score and parts. 123 pages. Aere R Greenway #6358555. Published by Aere R Greenway (A0.935330). I orchestrated this piano scherzo by Brahms, realizing there was enough material in it for an entire symphony orchestra. It's a virtuoso piano piece, and the orchestra parts are similarly difficult. With this piece, you get to perform a new orchestral work by Brahms, though he's been dead since the 1800's. And it's done only as a super-fan of Brahms could lovingly do. This version is complete, including all the repeats.
$32.97 29.75 € #Orchestra #Johannes Brahms #Brahms Scherzo, opus 4, for Orchestra #Aere R Greenway #SheetMusicPlus

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 ViÃ±es, 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 Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™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 Debussyâ€™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 â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ 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. Debussyâ€™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 Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ 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. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ 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 childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

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 ViÃ±es, 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 Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™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 Debussyâ€™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 â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ 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. Debussyâ€™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 Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ 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. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ 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 childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.

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 ViÃ±es, 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 Debussyâ€™s death, when they were printed as Images (oubliÃ©es). Estampes marks an expansion of Debussyâ€™s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravelâ€™s Jeux dâ€™eau, published in 1902. The opening movement, â€˜Pagodesâ€™, is Debussyâ€™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 Debussyâ€™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 â€˜Pagodesâ€™ was his first Oriental piece, so â€˜La soirÃ©e dans Grenadeâ€™ was the first of Debussyâ€™s evocations of Spain-that preternatural embodiment of an â€˜imaginary Andalusiaâ€™ 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. Debussyâ€™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 Ravelâ€™s Habanera. Yet he wrote of this piece (to his friend Pierre LouÃ¿s, to whom it was dedicated), â€˜if this isnâ€™t the music they play in Granada, so much the worse for Granada!â€™-and there is no debate about the absolute authenticity of Debussyâ€™s use of Spanish idioms here. Falla himself pronounced it â€˜characteristically Spanish in every detailâ€™. â€˜La soirÃ©e dans Grenadeâ€™ 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. â€˜Jardins sous la pluieâ€™ is based on the childrenâ€™s song â€˜Nous nâ€™rons plus au boisâ€™ (We shanâ€™t go to the woods): its original 1894 form was in fact entitled Quelques aspects de â€˜Nous nâ€™rons plus au boisâ€™. The two versions are really two distinct treatments of the same set of ideas, but in â€˜Jardins sous la pluieâ€™ 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 childrenâ€™s song for treatment, â€˜Do, do, lâ€™enfant doâ€™) more elusive and tinged sometimes with melancholy or nostalgia. Th.

Rosary Sonatas: The Annunciation Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.1081578 Composed by Heinrich Ig…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.1081578 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 57 pages. JMJ Arrangements #685700. Published by JMJ Arrangements (A0.1081578). In the sixth month the angel Gabriel was sent from God to a city of Galilee named Nazareth, to a virgin betrothed to a man whose name was Joseph, of the house of David; and the virginâ€™s name was Mary. And he came to her and said, 'Hail, full of grace, the Lord is with you!' But she was greatly troubled at the saying, and considered in her mind what sort of greeting this might be. And the angel said to her, 'Do not be afraid, Mary, for you have found favor with God. And behold, you will conceive in your womb and bear a son, and you shall call his name Jesus. He will be great, and will be called the Son of the Most High; and the Lord God will give to him the throne of his father David, and he will reign over the house of Jacob for ever; and of his kingdom there will be no end.' And Mary said to the angel, 'How can this be, since I have no husband?' And the angel said to her, 'The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be called holy, the Son of God. And behold, your kinswoman Elizabeth in her old age has also conceived a son; and this is the sixth month with her who was called barren. For with God nothing will be impossible.' And Mary said, 'Behold, I am the handmaid of the Lord; let it be to me according to your word.' And the angel departed from her. (Luke 1:26-38 RSV-CE).
$19.99 18.04 € #Orchestra #Heinrich Ignaz Franz von Biber #Rosary Sonatas: The Annunciation #JMJ Arrangements #SheetMusicPlus

Full Orchestra - Level 4 - Digital Download SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 79 pages. JMJ Arrangements #685710. Published by JMJ Arrangements (A0.1081594). [W]hen the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, 'Every male that opens the womb shall be called holy to the Lord') and to offer a sacrifice according to what is said in the law of the Lord, 'a pair of turtledoves, or two young pigeons.' Now there was a man in Jerusalem, whose name was Simeon, and this man was righteous and devout, looking for the consolation of Israel, and the Holy Spirit was upon him. And it had been revealed to him by the Holy Spirit that he should not see death before he had seen the Lordâ€™s Christ. And inspired by the Spirit he came into the temple; and when the parents brought in the child Jesus, to do for him according to the custom of the law, he took him up in his arms and blessed God and said, 'Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation which thou hast prepared in the presence of all peoples, a light for revelation to the Gentiles, and for glory to thy people Israel.' And his father and his mother marveled at what was said about him; and Simeon blessed them and said to Mary his mother, 'Behold, this child is set for the fall and rising of many in Israel, and for a sign that is spoken against (and a sword will pierce through your own soul also), that thoughts out of many hearts may be revealed.' ... And when they had performed everything according to the law of the Lord, they returned into Galilee, to their own city, Nazareth. And the child grew and became strong, filled with wisdom; and the favor of God was upon him. (Luke 2:22-35, 39-40 RSV-CE).

Full Orchestra - Level 4 - Digital Download SKU: A0.1181679 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival. Score and parts. 54 pages. Lee Johnson Music #781453. Published by Lee Johnson Music (A0.1181679). CHINA DOLL - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations.Â Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GIveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit:www.leejohnsonmusic.comKings Bishop Productions YouTube ChannelÂ Â

St. Stephen Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.1181727 By The Grateful Dead. B…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.1181727 By The Grateful Dead. By Jerry Garcia, Phil Lesh, and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival. Score and parts. 117 pages. Lee Johnson Music #781507. Published by Lee Johnson Music (A0.1181727). SAINT STEPHEN - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations.Each movement may be purchased and performed separately.If your orchestra would like to do aÂ complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture & FinaleFor more information on composer Lee Johnson please visit: www.leejohnsonmusic.comÂ Kings Bishop Productions YouTube Channel
$59.99 54.12 € #Orchestra #The Grateful Dead #Finale href=https://www #St. Stephen #Lee Johnson Music #SheetMusicPlus

To Lay Me Down Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.1181710 By The Grateful Dead. B…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.1181710 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival. Score and parts. 58 pages. Lee Johnson Music #781490. Published by Lee Johnson Music (A0.1181710). TO LAY ME DOWN - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations.Â Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit:Â https://www.leejohnsonmusic.comKings Bishop Productions
$49.99 45.1 € #Orchestra #The Grateful Dead #To Lay Me Down #Lee Johnson Music #SheetMusicPlus

Blues For Allah Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.1181614 By The Grateful Dead. B…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.1181614 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival. Score and parts. 71 pages. Lee Johnson Music #781403. Published by Lee Johnson Music (A0.1181614). BLUES FOR ALLAH - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations.Â Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit:Â www.leejohnsonmusic.comKings Bishop Productions YouTube ChannelÂ
$49.99 45.1 € #Orchestra #The Grateful Dead #Blues For Allah #Lee Johnson Music #SheetMusicPlus

Here Comes Sunshine Orchestra

Full Orchestra - Level 4 - Digital Download SKU: A0.1181699 By The Grateful Dead. B…(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.1181699 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival. Score and parts. 71 pages. Lee Johnson Music #781479. Published by Lee Johnson Music (A0.1181699). HERE COMES SUNSHINE - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations.Â Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit:Â www.leejohnsonmusic.comKings Bishop Productions YouTube ChannelÂ Â
$49.99 45.1 € #Orchestra #The Grateful Dead #Here Comes Sunshine #Lee Johnson Music #SheetMusicPlus

Full Orchestra - Level 4 - Digital Download SKU: A0.1181603 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Contemporary,Contest,Festival,Folk. Score and parts. 67 pages. Lee Johnson Music #781391. Published by Lee Johnson Music (A0.1181603). BIRD SONG - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations.Â Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit:Â www.leejohnsonmusic.comKings Bishop Productions YouTube ChannelÂ Â

DEAD OVERTURE & FINALE Orchestra

Full Orchestra - Level 5 - Digital Download SKU: A0.1181690 By Lee Johnson. By Lee …(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.1181690 By Lee Johnson. By Lee Johnson. 20th Century,Contemporary,Contest,Festival. Score and parts. 66 pages. Lee Johnson Music #781470. Published by Lee Johnson Music (A0.1181690). DEAD OVERTURE & FINALE - for symphony orchestra - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboardâ€™s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations. This spirited work can be used as a fun overture/finale for movements from Dead Symphony no. 6 or for other orchestral works.Â Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit:Â www.leejohnsonmusic.comKings Bishop Productions YouTube ChannelÂ Â
$39.99 36.08 € #Orchestra #Lee Johnson #DEAD OVERTURE & FINALE #Lee Johnson Music #SheetMusicPlus

Full Orchestra - Digital Download SKU: A0.976722 Composed by LOBE DEN HERREN. Arranged by Robert Myers. Christian,Contemporary,Sacred. Score and parts. 64 pages. WheatMyer Music #4808643. Published by WheatMyer Music (A0.976722). Joachim Leander's Praise to the LORD, the Almighty, as translated by Catherine Winkworth, has consistently been one of the most published hymns in the English language since the mid-20th Century. Its anonymously composed tune, LOBE DEN HERREN, almost exclusively paired with this text since the 17th Century, is also much loved. Even J.S. Bach found it suitable to feature in his 137th cantata. The title of this arrangement, Ponder Anew, as taken from the commonly used third stanza of the hymn, Ponder anew what the Almighty can do, invites one to consider afresh the attributes and works of Almighty God as one listens to this completely new setting of the tune. This arrangement for orchestra features three variations of the complete hymn tune utilizing metrical and harmonic changes to maintain focus on the tune and its text. These are bracketed via repetitions of the first five tune pitches in harmonic planing over a crescendoed pedal tone producing steadily increasing tension with unexpected resolutions of the beginning and concluding phrases. The music in not particularly difficult and should be readily playable by high school or higher level musicians. Yet, both musicians and audience will find the work interesting and enjoyable with music that reflects the majesty and mystery of its subject. Robert Myers S.D.G.INSTRUMENTATION Picc, Fl1, 2 Oboe 1, 2 Bb Cl 1, 2 + Bass Cl Bsn 1 Hn 1, 2 Tpt 1, 2, 3 Tbn 1, 2, 3 Tuba Timpani Perc. 1 (glock, crash cym, sus cym, ride cym, mark tree, claves, tam tam) Perc. 2 or Drum Set (snare, bass drum, toms (lo/mid/hi), crash cym, finger cym or triangle, ride cym, sys cym) Vln 1, 2 VlaVC DB

Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only Orchestra

Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debuss…(+)

Full Orchestra - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic. Score. 19 pages. Published by Musik Fabrik Music Publishing
Scored for 21EH22/2200/timp/1perc/hp/strings Parts on rental.<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907, Mourey offered Debussy a libretto based on Le roman de Tristan - Joesph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Tomas - which had recently been published in Paris. Debussy enthusiastically outline the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwal and that “Isolde of the white hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays hi when he goes mad at the end.<br> <br> The idea of a Tristan that restorced its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was “not very lyrical and many passages do not exactly “invite” music”, he did work on the libretto and the music that summer and sent his pubisher Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches it ecstatic climas, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opennning, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated advice.<br> <br> Unforunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrights for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br>
$19.95 18 € #Orchestra #Claude Debussy/Robert Orledge #Claude Debussy/Robert Orledge: Prélude à L'Histoire de Tristan for orchestra, score only # Musik Fabrik Music Publishing #SheetMusicPlus