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You've selected:
Press Toward the Mark - Tuba
Sheetmusic to print
43 sheet music found
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26
Press Toward The Mark
Choral SATB
(SATB) - Digital Download SKU: HX.450790 Composed by Heather Sorenson. Sacred. Chor…
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(SATB) - Digital Download SKU: HX.450790 Composed by Heather Sorenson. Sacred. Choral. 14 pages. Duration 280. Published by Hal Leonard - Digital (HX.450790).
$2.25
2.1 €
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Choral SATB
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Heather Sorenson
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Press Toward The Mark
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark
(Full Performance) - Digital Download SKU: HX.451748 Composed by Heather Sorenson. …
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(Full Performance) - Digital Download SKU: HX.451748 Composed by Heather Sorenson. Sacred. Choral. Duration 283. Published by Hal Leonard - Digital (HX.451748).
$1.99
1.86 €
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Heather Sorenson
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Press Toward the Mark
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark
(Accompaniment Only) - Digital Download SKU: HX.451749 Composed by Heather Sorenson…
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(Accompaniment Only) - Digital Download SKU: HX.451749 Composed by Heather Sorenson. Sacred. Choral. Duration 283. Published by Hal Leonard - Digital (HX.451749).
$24.99
23.36 €
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Heather Sorenson
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Press Toward the Mark
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Hal Leonard - Digital
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SheetMusicPlus
The Trinity Service - Magnificat & Nunc dimittis
Choral SATB
Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1211209 Composed by…
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Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1211209 Composed by Ivo Antognini. A Cappella,Contemporary,Latin,Sacred. Octavo. 24 pages. Ivo Antognini #808911. Published by Ivo Antognini (A0.1211209). In this Trinity Service (2021) I used the text of the Magnificat as if it were the storyboard of a film. I tried to describe in the utmost detail the emotion the words conveyed to me and the images they suggested. In this composition I have used word-painting, attempting to colour as many words, phrases and situations as possible; hence the score is full of expression markings such as ‘majestic’, ‘with vigour’, ‘lively’, ‘intense’, ‘with affection’ and ‘with verve’. The result is a piece that changes texture rather quickly, and its noble opening theme (‘My soul doth magnify the Lord’) returns only once in abbreviated form (‘He hath filled the hungry with good things’). The following Nunc dimittis has a much more meditative and intimate character with a sparser texture. There are some references to the themes presented in the Magnificat. A motif from the Magnificat, ‘Glory be to the Father, and to the Son’, recurs in almost the same form towards the close of the Nunc dimittis, but in a quieter vein and in 4 rather than the 43 of the Magnificat. The Magnificat and the Nunc dimittis may be performed individually.
$3.99
3.73 €
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Choral SATB
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Ivo Antognini
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The Trinity Service - Magnificat & Nunc dimittis
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Ivo Antognini
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SheetMusicPlus
Press Toward the Mark - Timpani
Percussion (band part)
Choral - Digital Download SKU: HX.451593 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451593 This edition: scorch. Sacred. Choral Instrumental Pak. 2 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451593).
$7.00
6.54 €
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Percussion (band part)
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Press Toward the Mark - Timpani
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Bb Trumpet 2
Trumpet (band part)
Choral - Digital Download SKU: HX.451587 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451587 This edition: scorch. Sacred. Choral Instrumental Pak. 2 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451587).
$7.00
6.54 €
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Trumpet (band part)
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Press Toward the Mark - Bb Trumpet 2
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Organ
Choral - Digital Download SKU: HX.451595 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451595 This edition: scorch. Sacred. Choral Instrumental Pak. 6 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451595).
$7.00
6.54 €
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Press Toward the Mark - Organ
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Bb Trumpet 1
Trumpet (band part)
Choral - Digital Download SKU: HX.451586 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451586 This edition: scorch. Sacred. Choral Instrumental Pak. 2 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451586).
$7.00
6.54 €
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Trumpet (band part)
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Press Toward the Mark - Bb Trumpet 1
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Piano
Piano (band part)
Choral - Digital Download SKU: HX.451594 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451594 This edition: scorch. Sacred. Choral Instrumental Pak. 7 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451594).
$7.00
6.54 €
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Piano (band part)
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Press Toward the Mark - Piano
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Trombone 1
Trombone (band part)
Choral - Digital Download SKU: HX.451589 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451589 This edition: scorch. Sacred. Choral Instrumental Pak. 3 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451589).
$7.00
6.54 €
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Trombone (band part)
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Press Toward the Mark - Trombone 1
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Trombone 2
Trombone (band part)
Choral - Digital Download SKU: HX.451590 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451590 This edition: scorch. Sacred. Choral Instrumental Pak. 3 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451590).
$7.00
6.54 €
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Trombone (band part)
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Press Toward the Mark - Trombone 2
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Full Score
Choral - Digital Download SKU: HX.451585 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451585 This edition: scorch. Sacred. Choral Instrumental Pak. 33 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451585).
$7.00
6.54 €
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Press Toward the Mark - Full Score
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - Percussion
Percussion (band part)
Choral - Digital Download SKU: HX.451592 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451592 This edition: scorch. Sacred. Choral Instrumental Pak. 2 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451592).
$7.00
6.54 €
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Percussion (band part)
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Press Toward the Mark - Percussion
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Hal Leonard - Digital
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SheetMusicPlus
Press Toward the Mark - F Horn
French horn (band part)
Choral - Digital Download SKU: HX.451588 This edition: scorch. Sacred. Choral Instr…
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Choral - Digital Download SKU: HX.451588 This edition: scorch. Sacred. Choral Instrumental Pak. 3 pages. Duration 280. Hal Leonard - Digital #314122. Published by Hal Leonard - Digital (HX.451588).
$7.00
6.54 €
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French horn (band part)
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Press Toward the Mark - F Horn
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Hal Leonard - Digital
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SheetMusicPlus
Heather Sorenson: Press Toward the Mark (COMPLETE) - orchestra/band
Orchestra
Instantly printable sheet music by Heather Sorenson for orchestra/band of MEDIUM skill lev…
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Instantly printable sheet music by Heather Sorenson for orchestra/band of MEDIUM skill level. / sacred
$54.99
51.41 €
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Orchestra
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Heather Sorenson
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Virtualsheetmusic
Heather Sorenson: Press Toward The Mark - choir (SATB: soprano, alto, tenor, bass)
Choral SATB
Instantly printable sheet music by Heather Sorenson for choir (SATB: soprano, alto, tenor,…
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Instantly printable sheet music by Heather Sorenson for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / sacred
$6.23
5.82 €
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Choral SATB
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Heather Sorenson
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Virtualsheetmusic
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.43 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Doubt & Determination (An Epic Sonata of Indeterminacy)
Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - Digital Download…
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Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - Digital Download SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary. Score and parts. 5 pages. Dennis Garretson #4580777. Published by Dennis Garretson (A0.993652). Description:Doubt & Determination bridges the gaps between musical eras, as one would hear certain nuance that dates back to the Baroque era but possess a rather modern musical structure. The piece challenges both the listeners and the player themselves. For the public ears, one will have to adapt the performer's perspectives to 'feel' the piece. As the title suggests, both 'Doubt' and 'Determination' are two human perceptions that oppose each other, to understand the music is to find common grounds between them, through unexpected cadences and dynamic change. The performer will have to deliver the technicalities of bringing them together, through detail instructions on dynamics and tempo change. The piece is modeled in Sonata Form. however, it is to be approached with indeterminacy, occasionally granting the performer the freedom through Tempo Rubato and Breath Perceptions.Practice Suggestion:This music can only prevail through expression, thus the commitment for dynamic is of the utmost importance. It is highly suggested to understand what makes this piece unique, a score analysis is always a good start. Mark out the accents (Staccato and Emphasis) and the tempo change. Establish breathing points since the piece has very minimal instructions for that, it is hence highly dependent on the performer's capability to deliver.A proper mindset is essential for the perfect performance.Instrumentations:Certain instruments are optional if a soprano saxophone is proven unavailable. The permitted exceptions are Violins (high strings with nuance deliverance) and Woodwinds within the tenor and soprano range.About the ComposerDennis Garretson is young Pianist, Improviser and Composer.Born and raised in Hong Kong, he started as a self-taught composer in high school. and became increasingly influenced by Hollywood &Blockbuster sounds, which paved the way towards discovering his passion towards the realm of orchestral music & film scores. He produced his first soundtrack when he was 17 and secured his first Media Award in the 12th Annual Hong Kong Film Art Association for the best original composition.Currently pursuing a music degree in Nova Scotia Canada, Dennis has the honorable opportunity of studying under multi Juno nominated composer - Peter Togni. His style of writing could be described as - Adaptive Story Telling, allowing listeners to have their very own unique interpretations of what the music could be about while anchoring within reach of the composer's core idea. Dennis strives to be a composer of true versatility, albeit his primary interest remains committed to film scores. He has written in the styles of Schoenberg's 12-tone techniques and has gone as polar as modern movie and trailer music. His music has been commissioned for short films and could be heard on various media platforms.For work inquiry, please contact through social media.
$6.99
6.54 €
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Dennis Garretson
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Doubt & Determination
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Dennis Garretson
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score only
Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 …
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Large Ensemble Cello,Clarinet,Double Bass,Flute,Multi-Percussion,Trombone,Viola - Level 5 - Digital Download SKU: A0.533688 Composed by Musik Fabrik Music Publishing. Concert,Contemporary,Standards. Score and parts. 26 pages. Musik Fabrik Music Publishing #3038603. Published by Musik Fabrik Music Publishing (A0.533688). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score only. The score and parts are sold as another item
$19.95
18.65 €
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Musik Fabrik Music Publishing
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
Three Latin Elegies to Lesbia
Choral SATB
Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Cen…
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Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.<br> <br> Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff’s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.<br> <br> Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus’ earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:<br> <br> Lesbia keeps insulting me in front of her husband:<br> <br> thisfills the fatuous idiot with delight.<br> <br> Mule, doyou perceive nothing? If she shut up and ignored me<br> <br> that’dshow healthy indifference;…<br> <br> In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint thewords, “Lesbia mi dicit semper male nec tacetumquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illamassidue” (…it’s the same with me: I’m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.<br> <br> Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia’s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, “My love for you is so great thatno other woman could possibly even know what love is.” This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.
$4.99
4.67 €
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Choral SATB
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Mark D
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Three Latin Elegies to Lesbia
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Mark Templeton Choral Music
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SheetMusicPlus
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95
36.42 €
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Chamber Orchestra
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Carson Cooman
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Carson Cooman: Shining Space: Quintet for Horn and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Prelude in E minor (MEDIUM PIANO) Op. 28, No. 4 [Frédéric Chopin]
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1259082 Composed by Frederic Chopin…
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Piano Solo - Level 3 - Digital Download SKU: A0.1259082 Composed by Frederic Chopin. Arranged by Darek. 19th Century,Classical,Romantic Period. Score. 1 pages. Darek #852348. Published by Darek (A0.1259082). Prelude in E minor (MEDIUM PIANO) Op. 28, No. 4 [Frédéric Chopin]Intermediate arrangement for pianists of Prelude in E minor Op. 28, No. 4 by Frédéric Chopin (Frederic Chopin). Intermediate version for pianists / Intermediate piano arrangement. Included: Fingering, Dynamics, Articulation and video Youtube tutorial. You can delve into the captivating world of piano sheet music with my collection featuring the exquisite Prelude in E minor Op. 28, No. 4 by Frédéric Chopin. Designed specifically for intermediate pianists, this arrangement offers a delightful challenge, allowing you to further refine your skills and explore the depth of this iconic composition. Within my meticulously crafted sheet music, you will find a wealth of valuable markings and instructions. Fingering notations guide your hands effortlessly across the keys, ensuring fluidity and precision in your performance. Explore the full expressive potential of the piece with detailed Dynamics markings, allowing you to shape each note and bring out the soulful melodies. As you navigate through the composition, discover the art of nuanced phrasing and interpretation with comprehensive Articulation instructions. These markings offer invaluable guidance to help you master the delicate balance between legato and staccato passages, adding depth and richness to your rendition. To support your musical journey, this product includes a YouTube tutorial video where an experienced pianist shares expert insights and performs the piece, guiding you through every section step by step. This visual aid allows you to observe their technique, learn interpretative choices, and refine your playing. The Prelude in E minor Op. 28, No. 4 originates from the Romantic era, an artistic period known for its passionate expression and evocative melodies. Immerse yourself in this musical epoch and experience the profound beauty that Chopin's composition encapsulates. With a strategic focus on online visibility, my product caters to intermediate pianists seeking comprehensive sheet music that ensures growth and artistic development. This arrangement strikes the perfect balance between challenge and accessibility, allowing you to expand your repertoire with confidence. Experience the transformative power of music as you unlock the melodies of the Prelude in E minor. Let my meticulously prepared sheet music, complete with Fingering, Dynamics, Articulation, and a YouTube tutorial, guide you towards a captivating performance. Elevate your piano playing and create an unforgettable musical experience that reflects the mastery and passion of Chopin's timeless creation.
$2.00
1.87 €
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Piano solo
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Frederic Chopin
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Prelude in E minor
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Darek
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SheetMusicPlus
Carson Cooman: Concerto for Bass Trombone and Six Players (2006), score and parts
Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Di…
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Large Ensemble Cello,Double Bass,Flute,Multi-Percussion,Oboe,Trombone,Viola - Level 5 - Digital Download SKU: A0.533689 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 64 pages. Musik Fabrik Music Publishing #3038607. Published by Musik Fabrik Music Publishing (A0.533689). Concerto for Bass Trombone and Six Players (2006) was commissioned by the CarnegieMellon School of Music for the Carnegie Mellon Contemporary Ensemble, Walter Morales,director. The work is dedicated to trombonist Jim Siders, for whom the solo part was written.The work is scored for solo bass trombone with an ensemble of primarily “dark†instruments– alto flute, clarinet, viola, cello, contrabass, and percussion. The solo bass trombone is thefocal point of the musical discourse, acting throughout largely as a protagonist – with muchmaterial best described as bitterly lyrical. The work maintains a generally dark, obsessive,and bitter tone throughout.Unlike some concerti, however, the work is not about an aggression between soloist and therest of the ensemble. Rather the bass trombone is “first†among a collection of like mindedindividuals – all expressing the same sentiments and aggressions.The opening section is marked “spasmodic.†Quiet nervous twitches serve as a backdrop to amelodic unfolding of the basic material and interval content. The end of this part “breaksapart†to reveal a section marked “slow, otherworldly.†The harmonic material starts modal,open, and “distant†in feeling (perhaps a recollection of a distant past) before becominggradually gnarled again.The trombone leads towards the next section: an ever-building athletic “moto perpetuo.†Thisreaches its peak in an aggressive and horribly angry climax – with a wide-ranging trombonepart marked “wildly raving; insane, uglyâ€, obliterated by bass drum hits and shriekinghammer blows from the other instruments.A nervous and timid interlude returns to the nervous twitching of the opening – thougheverything is slightly slower and more hushed than before, finally breaking off into anenigmatic coda.Alto FluteClarinet in BbPercussion (1 player):bass drum, marimba, crotales(Percussionist needs one rosined bow for crotales.)ViolaCelloContrabassThis is the score and parts. The score is also available for sale as a seperate item.
$32.95
30.81 €
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Carson Cooman
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Carson Cooman: Concerto for Bass Trombone and Six Players
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Musik Fabrik Music Publishing
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SheetMusicPlus
Nocturne in Eb Major, Op. 9, No. 2 (MEDIUM PIANO) [Frédéric Chopin]
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1259040 Composed by Frederic Chopin…
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Piano Solo - Level 3 - Digital Download SKU: A0.1259040 Composed by Frederic Chopin. Arranged by Darek. 19th Century,Classical,Romantic Period. Score. 1 pages. Darek #852303. Published by Darek (A0.1259040). Nocturne in Eb Major, Op. 9, No. 2 (MEDIUM PIANO) [Frédéric Chopin]Intermediate arrangement for pianists of Nocturne in Eb Major, Op. 9, No. 2 by Frédéric Chopin. Intermediate version for pianists. Included: Fingering, Dynamics, Articulation and Youtube tutorial. I invite you to explore the captivating world of Frédéric Chopin's Nocturne in Eb Major, Op. 9, No. 2 through my meticulously curated piano sheet music. As an intermediate pianist, I understand the desire to tackle challenging yet rewarding compositions, and this Nocturne is the perfect choice. Immerse yourself in the beauty and complexity of this iconic piece, expertly transcribed for intermediate-level pianists like yourself. My sheet music offers a comprehensive package that includes fingering, dynamics, and articulation markings, meticulously crafted to guide you towards a polished and expressive performance. With my detailed annotations, you'll gain insight into the delicate nuances that make Chopin's Nocturne truly remarkable. From the softest pianissimos to the most passionate crescendos, these markings enable you to unlock the full musicality and emotion inherent in the composition. To complement the sheet music, I have also prepared a YouTube tutorial exclusively for you. This video guide provides step-by-step demonstrations, offering valuable insights and techniques to enhance your interpretation. Immerse yourself in my comprehensive tutorial, and watch as your performance reaches new heights. Chopin's Nocturne in Eb Major is a timeless masterpiece that transports us to the romantic era, where the piano reigned supreme. By mastering this composition, you'll not only expand your repertoire but also gain a deeper appreciation for the rich heritage of classical music.  I prioritize your musical journey, offering sheet music tailored to your intermediate skill level. I believe in providing a balance between challenge and attainability, allowing you to stretch your abilities while experiencing the joy of playing this exquisite Nocturne. Dive into the enchanting realm of the piano, where each note tells a story and every phrase carries profound emotion. Let Chopin's Nocturne guide you on a path of self-expression and musical discovery. My sheet music provides the perfect opportunity to refine your skills and showcase your talent as an intermediate pianist. Don't miss out on the chance to elevate your performance and embrace the artistry of Chopin's Nocturne. Unlock your potential and experience the satisfaction that comes from conquering a complex piece of music. With my meticulously prepared sheet music and accompanying tutorial, you'll embark on a musical adventure that will captivate both yourself and your audience. Choose excellence, choose expression, and choose my sheet music for the Nocturne in Eb Major, Op. 9, No. 2. Let the piano become your voice, and let this composition be your muse as you continue to evolve as an intermediate pianist. Begin your musical journey today and unlock the profound beauty of Chopin's Nocturne.
$2.00
1.87 €
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Piano solo
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mastering this composition, you'll not only expand your repertoire but also gain a deeper appreciation for the rich heritage of
classical music
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Frederic Chopin
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Nocturne in Eb Major, Op. 9, No. 2
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Darek
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SheetMusicPlus
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.861960 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'Connor Musik International #6209395. Published by Mark O'Connor Musik International (A0.861960). Americana Symphony Variations on Appalachia Waltz (wind parts – symphony orchestra) MO164B-IWind Parts (score and parts available)Music by Mark O’Connor164 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00
74.79 €
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Orchestra
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Mark O'Connor
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Americana Symphony "Variations on Appalachia Waltz"
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Mark O'Connor Musik International
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SheetMusicPlus
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