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That's What I Like
Chamber Orchestra
Sheetmusic to print
9 sheet music found
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Sonata Op. 19 #1
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Chamber Orchestra
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Classical
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Marcello, Benedetto
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Nick M Lacanski
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Sonata Op. 19 #1
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theupperstaff
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.952022 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. The...
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Chamber Orchestra - Digital Download SKU: A0.952022 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. Theupperstaff #557751. Published by theupperstaff (A0.952022). Arranged for solo bassoon and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
Sonata Op. 19 #1
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Chamber Orchestra
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Classical
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Marcello, Benedetto
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Nick M Lacanski
#
Sonata Op. 19 #1
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theupperstaff
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.952019 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 19 pages. The...
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Chamber Orchestra - Digital Download SKU: A0.952019 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 19 pages. Theupperstaff #557748. Published by theupperstaff (A0.952019). Arranged for solo alto sax and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
Sonata Op. 19 #1
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Chamber Orchestra
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Classical
#
Marcello, Benedetto
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Nick M Lacanski
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Sonata Op. 19 #1
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theupperstaff
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.946889 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. The...
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Chamber Orchestra - Digital Download SKU: A0.946889 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. Theupperstaff #552642. Published by theupperstaff (A0.946889). Arranged for solo soprano sax and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
Sonata Op. 19 #1
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Chamber Orchestra
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Classical
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Marcello, Benedetto
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Nick M Lacanski
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Sonata Op. 19 #1
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theupperstaff
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.952016 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. The...
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Chamber Orchestra - Digital Download SKU: A0.952016 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. Theupperstaff #557746. Published by theupperstaff (A0.952016). Arranged for solo tenor sax and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
Sonata Op. 19 #1
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Chamber Orchestra
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Classical
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Marcello, Benedetto
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Nick M Lacanski
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Sonata Op. 19 #1
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theupperstaff
#
SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.942369 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 19 pages. The...
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Chamber Orchestra - Digital Download SKU: A0.942369 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 19 pages. Theupperstaff #548178. Published by theupperstaff (A0.942369). Arranged for solo flute and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
Sonata Op. 19 #1
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Chamber Orchestra
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Classical
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Marcello, Benedetto
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Nick M Lacanski
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Sonata Op. 19 #1
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theupperstaff
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.946915 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 19 pages. The...
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Chamber Orchestra - Digital Download SKU: A0.946915 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 19 pages. Theupperstaff #552650. Published by theupperstaff (A0.946915). Arranged for solo oboe and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Chamber Orchestra
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ADVANCED
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Christian contemporary
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Sacred music
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Mus...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
Variations on a Rossini Theme op.Posth
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Chamber Orchestra
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Classical
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Sco...
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
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