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Rag Time Dance
Orchestra
Sheetmusic to print
7 sheet music found
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1
Festival
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Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Mike Lyons
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Festival
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Lyons Music Services
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1119919 By Mike Lyons. By Mike Lyons. Classical,Contemporary. Score and parts. 111 pages. Lyons Music Services #721269. Published by Lyons Music Services (A0.1119919). Festival:(Time 7:05) This is an original, previously unpublished piece, composed specifically for the ICF festival 2022. It is a programmatic piece in 3 sections, with each section being a description of some aspect of the word Festival. I have taken the broadest definition of the word festival to give as much scope for variety as possible. The first section opens with ‘sunrise’ on the day of the festival, shown by long-held open fourth chords, with the snapping of the violin pizzicatos (perhaps) being the rattle of tent lines/guys. The bass clarinet solo then shows people waking up and stretching, yawning and just before Letter A, the descending figures throughout the ensemble bring us all together to start the festival. From Letter A, one sets off at a marching pace through the crowds. We hear a mish-mash of vendors’ calls overlaying each other, repeating variations of the same motif and this little tune develops as it moves around the festival site, sometimes loud and sometimes faint. At some point, of course, arguments break out (e.g. Letter B between the strings and brass), but generally, the mood is business-like. At Letter C, there comes a parade of minstrels through the field which eventually fades off into the distance. At Letter D, we look at a different kind of festival. Not necessarily religious, but certainly spiritual. The harp and bell sounds evoke far-eastern temples while the string harmonics evoke an eerie stillness which is broken only by the melodic fragments (based on the 4ths of the first section) which pass around the orchestra. The theme is first heard on the Cor Anglais (echoed by the harp) which gives it a warmer, less piercing, sound than the oboe. The quartal chords at b.149 denote the vast mysteries of the cosmos. As our gaze widens, we are suddenly brought back to Earth with a rush as yet another kind of festival is evoked. This time we are looking briefly at the Indian subcontinent. Where fakirs charm snakes and young boys climb ropes only to disappear. The third and final section returns us to the British Isles, where the Celts are making merry in a festival. There is dancing, singing, feasting and drinking a-plenty. And, just when you think it’s all over, there’s a final push to get another dance going. The final chords are a reminder of the opening as we finish our revels as the sun descends below the horizon in a beautiful sunset.
$55.00
The American Seasons (violin solo part – violin and string orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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The American Seasons
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861925 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 34 pages. Mark O'C...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861925 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 34 pages. Mark O'Connor Musik International #6208093. Published by Mark O'Connor Musik International (A0.861925). The American Seasons (violin solo part – violin and string orchestra) MO148BViolin Solo Part (score and parts available)Music by Mark O’Connor30 pages - 38:00 minutes in length The American Seasons(Seasons Of An American Life)The American Seasons (Seasons Of An American Life) is a concerto for Violin And Chamber Orchestra. Composed in 1999, the music celebrates the various stages of an American life at the waking of the 21st century. Constructed in four movements and representing four stages of life, birth, adolescence, maturity and old age, the music also pays homage to Shakespeare's Seasons Of Man His acts being seven ages, incorporated throughout the work.Spring introduces the ideas of birth and infancy. After the principal theme has been stated, there is a violin cadenza encountering all twelve major keys and a 13/8 time signature representing the ancient golden ratio. These elements recall birth with all the possibilities a new life offers. Ending the movement, the principal theme is repeated with more complexity... as if posing life's questions.Summer represents the excitement and bravado of youthful adolescence and young adulthood. For the style of this movement I use a happy-go-lucky Blues voice which melds into Swing. I identify swing rhythm in all of 20th century American music culture as a common thread that runs through Ragtime through Rock and Roll on to Rap. Swing means testing the waters and pushing the envelope for lovers and soldiers.Fall is the slow movement symbolizing the wisdom of maturity. It is a peaceful theme with nostalgic strokes. It is a time for sincere reflection and enjoying ones accomplishments in life.Winter embodies the complexities and knowledge of an older person and that of a dying person. The movement begins with the principal them from Spring, but with a dissonance that emanates from a lifetime full of emotions and responsibilities. In the middle of the movement is a transition to an old world. I use my personal ancestry from Ireland as a foundation from which to rediscover one's lineage and explore the meaning and value of a cultural legacy.The exploration evolves into a four- and five-part fugue with a reel, jig, air, countered bass and the motif from the principal theme. All these elements, dances and melodies appear simultaneously and converge to form a unique insight to life's consequences from a historical perspective. Following the fugue, the principal theme finds its way back in. It sounds much as it did at birth. In the end, the solo violin cadenza carries the last earthly breaths before the violin and orchestra once again join in harmony to focus on a new life being transformed somewhere else. Life's four seasons in perpetuity. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorCommissioned by the Troy Savings Bank Concert Hall for their 2000 Celebration Can be heard on American Seasons Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, Metamorphosen Chamber Orchestra, Scott Yoo Catalogue Number MO148BCopyright © 1999 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor M.
$22.50
The American Seasons (2nd violins part – violin and string orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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The American Seasons
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861930 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 40 pages. Mark O'C...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861930 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 40 pages. Mark O'Connor Musik International #6208105. Published by Mark O'Connor Musik International (A0.861930). The American Seasons (2nd violins part – violin and string orchestra) MO148E2nd Violins Part (score and parts available)Music by Mark O’Connor36 pages - 38:00 minutes in length The American Seasons(Seasons Of An American Life)The American Seasons (Seasons Of An American Life) is a concerto for Violin And Chamber Orchestra. Composed in 1999, the music celebrates the various stages of an American life at the waking of the 21st century. Constructed in four movements and representing four stages of life, birth, adolescence, maturity and old age, the music also pays homage to Shakespeare's Seasons Of Man His acts being seven ages, incorporated throughout the work.Spring introduces the ideas of birth and infancy. After the principal theme has been stated, there is a violin cadenza encountering all twelve major keys and a 13/8 time signature representing the ancient golden ratio. These elements recall birth with all the possibilities a new life offers. Ending the movement, the principal theme is repeated with more complexity... as if posing life's questions.Summer represents the excitement and bravado of youthful adolescence and young adulthood. For the style of this movement I use a happy-go-lucky Blues voice which melds into Swing. I identify swing rhythm in all of 20th century American music culture as a common thread that runs through Ragtime through Rock and Roll on to Rap. Swing means testing the waters and pushing the envelope for lovers and soldiers.Fall is the slow movement symbolizing the wisdom of maturity. It is a peaceful theme with nostalgic strokes. It is a time for sincere reflection and enjoying ones accomplishments in life.Winter embodies the complexities and knowledge of an older person and that of a dying person. The movement begins with the principal them from Spring, but with a dissonance that emanates from a lifetime full of emotions and responsibilities. In the middle of the movement is a transition to an old world. I use my personal ancestry from Ireland as a foundation from which to rediscover one's lineage and explore the meaning and value of a cultural legacy.The exploration evolves into a four- and five-part fugue with a reel, jig, air, countered bass and the motif from the principal theme. All these elements, dances and melodies appear simultaneously and converge to form a unique insight to life's consequences from a historical perspective. Following the fugue, the principal theme finds its way back in. It sounds much as it did at birth. In the end, the solo violin cadenza carries the last earthly breaths before the violin and orchestra once again join in harmony to focus on a new life being transformed somewhere else. Life's four seasons in perpetuity. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed by Mark O’ConnorCommissioned by the Troy Savings Bank Concert Hall for their 2000 Celebration Can be heard on American Seasons Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, Metamorphosen Chamber Orchestra, Scott Yoo Catalogue Number MO148ECopyright © 1999 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method.
$15.00
Autumn tableau
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Orchestra
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INTERMEDIATE/ADVANCED
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Dario Duarte
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Autumn tableau
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Dario Duarte
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1080608 By Dario Duarte. By Dario Duarte. Classical,Contemporary,Folk,Multicultural,World. Score and parts. 45 pages. Dario Duarte #684825. Published by Dario Duarte (A0.1080608). The piece consists of a description of a small tableau with an autumn theme in an idyllic town. In the region of the Latin American Andes, more precisely the tableau called ayacuchano is an art form very representative of the folklore of the region. Taking this idea of micro-stories, the work narrates four scenes of a day that begins at dawn and ends with the town's festival. Each story corresponds to the four sections of the music, which are performed successively. First tableau: Autumn morning lights. The change of season is perceived in the ashen morning lights of the autumn season, the sun rises lightly with a slight warmth, giving the ochre color that dominates the landscape a sense of tranquility and reflectiveness. The mood of this piece is one of contemplation. Second tableau: Noon in the town The tableau opens. It is midday. The whole town is busy with preparations for the harvest festival celebration. The music goes by with the sounds of the town and the joy of the inhabitants for the important festivity they are about to share as a community. The whole town is a great hustle and bustle. You hear barrel organs, feel the excitement of hanging banners and decorating the houses for the main parade. Third tableau. Little song for siesta time. A nostalgic voice sings an old folk song to lull the children to sleep. The voices of other adults of the town intertwine to sing a song to the sleeping children. It is a tender song that recovers the stillness and tranquility of the town at the hour when everyone returns to their homes to rest. Fourth tableau: Night of celebration. Harvest Festival The first chords of the town band can be heard in the distance, a melody invites to enter with enthusiasm to the place where the festival will take place. The dance begins, the band plays energetically and everyone participates in a dance of joy. In the most important moment of the party, the town's hymn is played, everyone joins in one voice to sing the song that distinguishes them. And now: the announcement of the winners of the harvest contest. Someone is honored and everyone applauds vigorously. Then the dancing continues again. Everyone occupies the center of the dance floor and enjoys being part of a colorful celebration of unity for the town. Instragram (to be contacted by the instrumental parts): @darioduartenunez.
$15.99
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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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
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Claude Debussy
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
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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
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