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1
Come, Thou Long-Expected Jesus - Full Orchestra
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Orchestra
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INTERMEDIATE
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Christmas
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Rowland H Prichard
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Mark R Lewis
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Come, Thou Long-Expected Jesus
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Mark R Lewis
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1148784 Composed by Rowland H Prichard. Arranged by Mark R Lewis. Christmas,Holiday,Religious. Score ...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1148784 Composed by Rowland H Prichard. Arranged by Mark R Lewis. Christmas,Holiday,Religious. Score and Parts. 35 pages. Mark R Lewis #748921. Published by Mark R Lewis (A0.1148784). Come, Thou Long-Expected Jesus is a lovely Advent hymn. The text was written by Charles Wesley and has been used in Advent services regularly since it was written in the 1740s. The text has been set to many tunes but the one used in this version is Hyfrydol, This tune was written by Rowland Prichard about 100 years after Wesley's text and is used extensively in many hymnals but especially for this particular text. This arrangement is for orchestra with optional 3-5 octave handbell choir. The handbell arrangement unusual in that the 4 octave version does require the use of the F3 bell. Other than that this is a relatively simple, if thickly orchestrated, arrangement. There are three sections using different methods of music making, the first is a fairly straightforward setting, the second focuses on short sounds in the melody which is also in the lower voices, and the third explores musical canon before bringing back a more traditional musical setting. There are two distinct parts for most instruments with a few splitting more. Flutes, trumpets, and trombones have three parts. The trombone 3 part is intended to be bass trombone but should be playable on regular trombone and if any section only has two divisions, the lower voice should have more players unless otherwise notated. That applies to flutes and trumpets as well. There are four horn parts that do not split. The timpani part should be playable on two drums with active pedaling to change notes mid-piece, although four drums is perfectly acceptable.
$34.99
The Song Is You
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Orchestra
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ADVANCED
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Contemporary
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Jerome Kern
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Drew Zaremba
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The Song Is You
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ZarembaMusic
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Piano,Tenor Saxophone,Trombone,Trumpet - Level 5 - Digital Download SKU: A0.1035234
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Voice,Drums,Guitar,Piano,Tenor Saxophone,Trombone,Trumpet - Level 5 - Digital Download SKU: A0.1035234 Composed by Jerome Kern. Arranged by Drew Zaremba. Contemporary. Score and parts. 141 pages. ZarembaMusic #4764659. Published by ZarembaMusic (A0.1035234). This high octane swinger was written just for Chuck Findley, and is now available for all budding trumpet stars! This fast intense arrangement features trumpet soloist as well as an open section for many others to blow on. Then, after an epic trumpet soli, the band comes back with a big shout chorus. Enjoy on YouTube on the UNT YouTube channel! No doubles in this version, trumpet goes to a written F#6, very difficult, but very fun!
$75.00
Missa Solemnis, op. 27 - Score Only
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Orchestra
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #86...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
French Folk Song
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Orchestra
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BEGINNER
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Traditional French Song
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Constance Clark
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French Folk Song
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Constance Clark
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SheetMusicPlus
Full Orchestra - Level 1 - Digital Download SKU: A0.1487132 Composed by Traditional French Song. Arranged by Constance Clark. Children,Classical,Folk,Ins...
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Full Orchestra - Level 1 - Digital Download SKU: A0.1487132 Composed by Traditional French Song. Arranged by Constance Clark. Children,Classical,Folk,Instructional. 16 pages. Constance Clark #1064099. Published by Constance Clark (A0.1487132). Arranged for easy symphony orchestra, French Folk Song is valuable as a daily warm up as well as a warm, melodic addition to a performance. Parts are doubled for flexible instrumentation, with the exception of the snare drum. piccolo/flute 1/violin 1/ glockenspiel flute 2/violin 2 clarinet/viola trumpet/cello I’d love to hear from you if you are considering or playing this piece. Any questions or feedback are welcome. Email: constance@constanceclarkflute.com.
$5.99
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