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1
"When will you open the doors before God"
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1210573 By Dennis Patsiuk. By D…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1210573 By Dennis Patsiuk. By Dennis Patsiuk. Arranged by Dennis Patsiuk. Christian,Contemporary,Jazz,Multicultural,Praise & Worship,World. Score and Parts. 10 pages. Dennis Patsiuk #808358. Published by Dennis Patsiuk (A0.1210573). The song, based on the lyrics of the Christian poet Galina Krasnenkova, was written by the author in Minsk, Belarus in 2007. The lyrics are in Russian. The first performer was the author himself. Today, this song is performed in various countries, mainly in evangelical churches. The main message of the song's lyrics is that the love of God is an unearthly power that transforms the stony hearts of people, and all that is required for this is for a person to believe in Jesus Christ and open the door of their heart.
$80.00
73.83 €
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Orchestra
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Dennis Patsiuk
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"When will you open the doors before God"
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Dennis Patsiuk
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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
36.91 €
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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
Olga-Polka, Op. 196 (arr. for string orchestra): Full Score
Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.922635 Composed by Johann St…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.922635 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 7 pages. Aaron Meier #5792353. Published by Aaron Meier (A0.922635). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: Full Score ONLY True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) ---Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020. Resources: • Visit sites.google.com/view/aaronmeier for more information regarding this arrangement and other works. • Find a full midi recording of this arrangement on YouTub.
$10.99
10.14 €
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Orchestra
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Johann Strauss Jr
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
CONJUNCTION: The Christmas Star of 2020
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers…
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Full Orchestra - Level 3 - Digital Download SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00
87.68 €
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Orchestra
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Star of 2020
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WheatMyer Music
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SheetMusicPlus
Family Fugue
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1447011 Composed by Jenny-Joy A…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1447011 Composed by Jenny-Joy Ahimsa Moore. Classical,Contemporary. 15 pages. Jenny Joy Ahimsa Moore #1026786. Published by Jenny Joy Ahimsa Moore (A0.1447011). This piece is for a symphony that would play more challenging music. It is how I view, and harmonize, my dysfuctional/abusive family. The middle section falls apart much like my family truly was, behind closed doors. That is: we lived in the same house, but we did not communicate, we did not listen to each other. Near the end, it becomes much darker, almost funereal, like the truth of what being the youngest child (of a narcissistice mother, with an older narcissistic sister, a dad who chooses to remain ignorant) in my family was truly like. The various parts represent members of my family , sometimes several parts represent one member, or (at times) one part represents several members. Typically, the flute represents my sister, clarinet represents myself (sometimes tuba and trumpet as well). The parts overlap , to show how we did not listen and spoke at each other rather than with each other. This piece shows not just what each person was like on the outside, but also shows the more subtle sides of each member that few people really see or know about (the abuse behind closed doors). This piece is multi faceted, multi layered, like the 4 main members of my family are. The very end points to the Grace of God being the only thing that can heal my family at this point. The flute ends higher than clarinet, in the Hope that Healing can truly occur (not just my family, but with other families that hurt as well).
$79.99
73.83 €
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Orchestra
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Jenny-Joy Ahimsa Moore
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Family Fugue
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Jenny Joy Ahimsa Moore
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SheetMusicPlus
Rosary Sonatas: The Crucifixion
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1081697 Composed by Heinrich Ig…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1081697 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Easter,Sacred. Score and parts. 95 pages. JMJ Arrangements #685818. Published by JMJ Arrangements (A0.1081697). [S]tanding by the cross of Jesus were his mother, and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother, and the disciple whom he loved standing near, he said to his mother, 'Woman, behold, your son!' Then he said to the disciple, 'Behold, your mother!' And from that hour the disciple took her to his own home. After this Jesus, knowing that all was now finished, said (to fulfil the scripture), 'I thirst.' A bowl full of vinegar stood there; so they put a sponge full of the vinegar on hyssop and held it to his mouth. When Jesus had received the vinegar, he said, 'It is finished'; and he bowed his head and gave up his spirit. Since it was the day of Preparation, in order to prevent the bodies from remaining on the cross on the sabbath (for that sabbath was a high day), the Jews asked Pilate that their legs might be broken, and that they might be taken away. So the soldiers came and broke the legs of the first, and of the other who had been crucified with him; but when they came to Jesus and saw that he was already dead, they did not break his legs. But one of the soldiers pierced his side with a spear, and at once there came out blood and water. He who saw it has borne witness—his testimony is true, and he knows that he tells the truth—that you also may believe. For these things took place that the scripture might be fulfilled, 'Not a bone of him shall be broken.' And again another scripture says, 'They shall look on him whom they have pierced.' --John 19:25-37.
$34.99
32.29 €
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Orchestra
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Heinrich Ignaz Franz von Biber
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Rosary Sonatas: The Crucifixion
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JMJ Arrangements
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SheetMusicPlus
The River Kwai March
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1478076 Composed by Malcolm Arn…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1478076 Composed by Malcolm Arnold. Arranged by Kevin Riley. 20th Century,Film/TV,March. 56 pages. Kevin Riley #1055459. Published by Kevin Riley (A0.1478076). The River Kwai March is a march composed by Malcolm Arnold in 1957. It was written as an orchestral counter-march to the Colonel Bogey March, which is whistled by the soldiers entering the prisoner camp in the film The Bridge on the River Kwai and again near the end of the film when the bridge is formally dedicated. The Arnold march re-appears (without the Colonel Bogey March) several times in the film and is repeated at the finale.If you enjoy playing this and would like to request a piece for your ensemble please get in touch at klscj@me.com.
$70.00
64.61 €
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Orchestra
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Malcolm Arnold
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The River Kwai March
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Kevin Riley
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SheetMusicPlus
Festival on VICTORY
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1337205 Composed by Dudley Buck…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1337205 Composed by Dudley Buck. Arranged by Paul Ferington. Classical,Easter,Religious. 50 pages. Paul K Ferington #912243. Published by Paul K Ferington (A0.1337205). A joyous orchestra transcription of an 1896 organ work by Dudley Buck, using the hymn tune VICTORY (The Strife is O'er) celebrating the Easter Season; arranged with the competent Church orchestra in mind (3:45) (2/1/2+bc/1Â 2/2/2/1Â Timp) and perfect as a Prelude, Voluntary, or Postlude especially on or near Easter Sunday.
$24.95
23.03 €
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Orchestra
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Dudley Buck
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Festival on VICTORY
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Paul K Ferington
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SheetMusicPlus
Coventry Carol for Orchestra
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.979772 Composed by Anon. Arrang…
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Full Orchestra - Level 3 - Digital Download SKU: A0.979772 Composed by Anon. Arranged by Robert Luke Thompson. Christmas,Contemporary,Holiday,Renaissance,Traditional. Score and Parts. 44 pages. Monkspath Music #6079181. Published by Monkspath Music (A0.979772). The Coventry Carol originates from a medieval mystery play entitled The Pageant of the Shearmen and Tailors. The play depicts the Christmas story, from the Annunciation (where the Angel Gabriel appears to Mary), to the Massacre of the Innocents (where King Herod of Judea orders the death of all male infants near Bethlehem under the age of two). It is this tale that the Coventry Carol depicts, taking the form of a lullaby sung by the mothers of the murdered children. As is appropriate, the music is in a minor key – this arrangement uses G minor and D minor as a homage to well-known harmonisations by Thomas Sharp and Henry Walford Davies. It is unknown when the words were first set to music, but a proposed date is 1591, or earlier! Other interesting musical features include the use of a ‘Picardy third’, and ‘false relations’, contributing to the haunting quality of this enduring piece, both in the heart of the English Midlands, and further afield. This arrangement is suitable for all orchestras of beginner-intermediate ability or higher. There is plenty of interest for both experienced players, and for newcomers. The instrumentation is designed to facilitate both a full sound, but also for flexibility, which is often desired by school, youth, and amateur orchestras. For further pieces, view the Monkspath Music catalogue and click here!
$39.99
36.91 €
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Orchestra
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Anon
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Coventry Carol for Orchestra
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Monkspath Music
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SheetMusicPlus
Mary's bagpipe-playing lamb meets the kangaroo conga line of Cootamundra
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.851554 Composed by Brett Thomps…
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Full Orchestra - Level 3 - Digital Download SKU: A0.851554 Composed by Brett Thompson. 20th Century,Contemporary,Folk,Latin. Score and parts. 58 pages. Brett Thompson #6079455. Published by Brett Thompson (A0.851554). If you are lucky enough to have miraculously stumbled across this wonderful hoot of a piece using the sheetmusicplus search, then you are in for a treat! Cootamundra is a town in country New South Wales, Australia, and has nothing to do with the character of this piece. It is quite near where I currently live and made a fun alliteration while choosing a title for this piece. When writing music, I often allow the character and form of the piece to evolve with development of the motifs being employed. When writing student pieces, however, I tend to map out the work in my imagination fairly thoroughly first. This helps to keep the end result within the technical and musical limitations of the students in mind. Such was the case here where I decided to build on a nursery song with some drone-like accompaniment, a little Scotland the Brave, and then superimpose it on a conga line motif.This work is designed for a student orchestra (Grade 3) and includes lots of doubling and cues to cover absent parts.
$39.95
36.87 €
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Orchestra
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Brett Thompson
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Mary's bagpipe-playing lamb meets the kangaroo conga line of Cootamundra
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Brett Thompson
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SheetMusicPlus
Winter Serenade (Snow falling gently)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.834148 Composed by M. L. Daniel…
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Full Orchestra - Level 4 - Digital Download SKU: A0.834148 Composed by M. L. Daniels. 20th Century. Score and parts. 50 pages. M. L. Daniels #5041763. Published by M. L. Daniels (A0.834148). This piece can be thought of as a description of a snowfall. Little swirls of wind/snow, especially near the beginning. It has a challenging F horn countermelody, but otherwise is not that difficult. It brought many compliments from the audience on its first performance. It will help to use earphones as you listen to the audio. You will need a sensitive orchestra to get the aura for this piece. They will love it.
$30.00
27.69 €
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Orchestra
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M
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Winter Serenade
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M. L. Daniels
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SheetMusicPlus
Flee as a Bird
Orchestra
Full Orchestra - Digital Download SKU: A0.834149 Composed by M. L. Daniels. Contemp…
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Full Orchestra - Digital Download SKU: A0.834149 Composed by M. L. Daniels. Contemporary. Score and parts. 67 pages. M. L. Daniels #5314587. Published by M. L. Daniels (A0.834149). Flee as a Bird is based on a 19th century hymn. After a brief intro, the hymn is stated, and then the rest of the piece contains variations on the hymn theme. As you near the end, be sure to gradually crescendo, leaving the very loudest section to be the ending section. This is the most dramatic part.
$25.00
23.07 €
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Orchestra
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M
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Flee as a Bird
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M. L. Daniels
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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
23.07 €
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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. 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
23.07 €
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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
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
23.07 €
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Orchestra
#
Claude Debussy
#
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
#
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
4.61 €
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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 Sky Full Of Stars
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1110638 By Coldplay. By Avicii,…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1110638 By Coldplay. By Avicii, Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Adrian Keating. 20th Century,Contemporary,Rock. Score and parts. 68 pages. Adrian Keating #712937. Published by Adrian Keating (A0.1110638). SKY FULL of STARS orchestral arrangement opens as a Harp Solo commissioned for a Corporate Function nearly 5mins in length possible for Intermediate-Level youth ensemble 2 Flutes 2 Oboes 2 Clarinets Bb 1 Bassoon 2 Trumpets Bb 2 Horns 2 Trombones 1 BassTrombone Timpani Snare Bass Drum susp Cymbal Harp Violin solo / Violin 1 Violin 2 Viola solo / viola Cello Solo / celli Double Bass the styles of my arrangements are based on 30+ years experience as a Principal Violinist with Opera Australia & 30+ years as an Electric Violinist playing in live bands.
$59.99
55.37 €
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Orchestra
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Coldplay
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A Sky Full Of Stars
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Adrian Keating
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SheetMusicPlus
Spirit of Christmas 3/5 - Traditions
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.750070 Composed by Bradley Sowa…
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Full Orchestra - Level 4 - Digital Download SKU: A0.750070 Composed by Bradley Sowash. Arranged by Bradley Sowash Music. Christmas. Score and parts. 53 pages. Bradley Sowash #1081. Published by Bradley Sowash (A0.750070). Semi-finalist in the American Prize for Orchestral Composition Evokes the seasonal emotions many of us experience on the annual journey from late Fall through Christmas day with parallels to the symbols associated with candles on the advent wreath. Musically, it integrates traditional chamber orchestra (no low brass or percussion) with the improvised stylings of a jazz trio (piano, bass and drum set) in a quasi concerto format. Includes optional cadenzas for trumpet and cello. 5 sections – 22 minutes total (Sections can also be performed individually.) Chamber Orchestra or larger: 2 Flutes, 2 Oboes, 2 Clarinets in Bb, 2 Bassoons, 2 French Horns, 2 Trumpets, Violins I, II, Violas, Cellos, Contrabasses; Optional: Jazz Trio – Piano, Bass and Drum Set 3. Traditions (3:20) The excitement of preparing for the holidays is reflected in the fiddle-like strains of the string section. Woodwinds and brass follow with passing wisps of favorite hymns and carols. As the deadline draws nearer, our happy anticipation becomes a bit tarnished by the frenetic pace. Video: http://youtu.be/aCRzYNGW3ro?list=PL5114152391A60ACE.
$45.00
41.53 €
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Orchestra
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Bradley Sowash
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Spirit of Christmas 3/5 - Traditions
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Bradley Sowash
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SheetMusicPlus
Monster Mash
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.1472330 By Bobby Boris Pickett.…
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Full Orchestra - Level 2 - Digital Download SKU: A0.1472330 By Bobby Boris Pickett. By Bobby Boris Pickett and Leonard Capizzi. Arranged by Kevin Riley. 20th Century,Comedy,Thriller. 43 pages. Kevin Riley #1050034. Published by Kevin Riley (A0.1472330). Monster Mash is a 1962 novelty song by Bobby Boris Pickett. The song was released as a single on Gary S. Paxton's Garpax Records label in August 1962 along with a full-length LP called The Original Monster Mash, which contained several other monster-themed tunes. The Monster Mash single was number one on the BillboardHot 100 chart on October 20–27 of that year, just before Halloween. It has been a perennial Halloween favorite ever since. In 2021, nearly 60 years after its release, Monster Mash re-entered the Billboard Hot 100 chart at number 37.This arrangement is for a community orchestra set up including saxophones although they are not needed if you dont have any!Included are the words to the song that need acting rather than singing.
$60.00
55.38 €
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Orchestra
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Bobby Boris Pickett
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Monster Mash
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Kevin Riley
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SheetMusicPlus
The Great Cathedral
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.995852 Composed by Andrew Straw…
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Full Orchestra - Level 4 - Digital Download SKU: A0.995852 Composed by Andrew Strawn. Contemporary,Romantic Period. Score and parts. 125 pages. Andrew Strawn #4726553. Published by Andrew Strawn (A0.995852). Dedicated to the Notre Dame Cathedral in Paris which caught fire during the writing of this piece. The Great Cathedral is a long-anticipated work. I have had the primary chorale melody for nearly a year prior to the time of publication. So it seems rather overdue to complete it. Being the first large work for orchestra I have composed in a while, it was certainly a challenge. Nevertheless, this piece has come together just as I wanted it to. Written for full orchestra, choir, harp, piano, and organ, The Great Cathedral is a colossal work. It features the principal violinist and travels through a variety of orchestrations. From a French revolution-style march, swelling chorales, fugal expositions, and dissonate sforzandos this piece transforms the primary melody across the score. I am proud to have finally completed this work and I hope you enjoy, The Great Cathedral. In the event a choir is unavailable, choir parts have been cued in the organ. The organ would then play on a reed setting.Includes a legal-sized score and a letter-sized set of parts.
$55.00
50.76 €
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Orchestra
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Andrew Strawn
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The Great Cathedral
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Andrew Strawn
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SheetMusicPlus
Rotante Spiritica for Symphony Orchestra
Orchestra
Full Orchestra - Digital Download SKU: A0.777110 Composed by Scott R. Meister. 20th…
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Full Orchestra - Digital Download SKU: A0.777110 Composed by Scott R. Meister. 20th Century,Contemporary. Score and parts. 123 pages. Scott Meister #5994951. Published by Scott Meister (A0.777110). A great concert piece that showcases all of the different voices of the orchestra. It utilizes special instrumental effects that will surprise your audience and keep their attention throughout the piece. The compositional process is based on gravitational rotation of a given melody or phrase around a central axis that has been determined by a linear regression formula (because of this the use of microtones is incorporated). The piece was written for and premiered by the Hayes School of Music Symphony Orchestra.
$65.00
59.99 €
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Orchestra
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Scott R
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Rotante Spiritica for Symphony Orchestra
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Scott Meister
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SheetMusicPlus
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