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Theme from Ant Man Timpani
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Vous avez sélectionné:
Theme from Ant Man Timpani
Partitions à imprimer
46 partitions trouvées
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1
26
Theme from Ant-Man - Timpani
Theme from Ant-Man - Timpani
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Timbales (partie séparée)
#
Film/TV
#
Michael Brown
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Theme from Ant-Man - Timpani
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
Arranged by Michael Brown. Concert Band. Film/TV. Concert Band. 2 pages. Published by Hal Leonard - Digital Sheet Music ...
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Arranged by Michael Brown. Concert Band. Film/TV. Concert Band. 2 pages. Published by Hal Leonard - Digital Sheet Music
$6.00 ≈
5.60€
Theme from Ant-Man (Arr. Matt Conaway) - Timpani
Theme from Ant-Man (Arr. Matt Conaway) - Timpani
#
Jack Holt
#
Matt Conaway
#
Theme from Ant-Man
#
Hal Leonard - Digital
#
SheetMusicPlus
Level 3 - SKU: HX.422094 By Jack Holt. Arranged by Matt Conaway. This edition: scorch. Classical,Film/TV. 1 pages. Hal Leonard - Digital #0. Published b...
(+)
Level 3 - SKU: HX.422094 By Jack Holt. Arranged by Matt Conaway. This edition: scorch. Classical,Film/TV. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.422094).
$6.00 ≈
5.60€
Rachmaninoff: Alla Marcia in g Minor ~ Full Orchestra (Score)
Rachmaninoff: Alla Marcia in g Minor ~ Full Orchestra (Score)
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Orchestre
#
INTERMÉDIAIRE
#
Classique
#
Sergei Rachmaninoff
#
Michael Barrera
#
Rachmaninoff: Alla Marcia in g
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Michael Barrera
#
SheetMusicPlus
Full Orchestra - Intermediate - Composed by Sergei Rachmaninoff (1873-1943). Arranged by Michael Barrera. Romantic Period. Score. 16 pages. Publishe...
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Full Orchestra - Intermediate - Composed by Sergei Rachmaninoff (1873-1943). Arranged by Michael Barrera. Romantic Period. Score. 16 pages. Published by Michael Barrera
ProgramNotes
Sergei Rachmaninoff?s Alla Marciain g Minor is arguably one of his most popular pieces that is still playedtoday. This prelude was included asnumber 5 in his Opus 23, a set of ten preludes for solo piano. Rachmaninoff himself premiered this preludein Moscow in 1903, along with Preludes 1 and 2 from this set. It begins with quiet yet decisive sixteenthnote figures setting the mood for a minor march. Following this, the relative major Eb comesin full force expanding this sixteenth note figure with a descant-like melody. After a return to g minor, the energy of theopening march dissipates as a new lyrical melody takes the forefront,accompanied by sweeping arpeggios. Thissection is much melancholier than before. As this theme fades, the march returns slowly out of the mist that theprevious section created. It builds tothe return of the Eb major section that leads into a continuation of the marchtheme. This fades into a quick risingfigure to finish the prelude. Thisarrangement captures both the energy of the march and the beauty of the lyricalmiddle section.
Instrumentation
2 Flutes
2 Oboes
2 Clarinets (B flat)
2 Bassoons
4 Horns (F)
3 Trumpets (B flat)
2 Trombones
1 Bass Trombone
1 Tuba
Timpani
Snare Drum
Tambourine
Harp (substitute piano ifnecessary)
Violins I and II
Viola
Violincello
Double Bass
$19.99 ≈
18.66€
Theme From Ice Castles (through The Eyes Of Love)
Theme From Ice Castles (through The Eyes Of Love)
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Orchestre
#
INTERMÉDIAIRE
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Contemporain
#
Carole Bayer Sager and Marvin
#
Daniel G Fritch
#
#
Theme From Ice Castles
#
Daniel G Fritch
#
SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.919785 Composed by Carole Bayer Sager and Marvin Hamlisch. Arranged by Daniel G Fritch. Contemporary. Score and parts...
(+)
Full Orchestra - Level 3 - SKU: A0.919785 Composed by Carole Bayer Sager and Marvin Hamlisch. Arranged by Daniel G Fritch. Contemporary. Score and parts. 90 pages. Daniel G Fritch #6706455. Published by Daniel G Fritch (A0.919785). This is a full orchestra arrangement suitable for high school or community orchestras. Each section has rich sounds supporting the classic piano melody from this song.InstrumentationPiccolo Flutes 1 & 2Oboes 1 & 2 (2nd Oboe optional) Clarinets in Bb 1 & 2 Bass Clarinet Bassoons 1 & 2 (covered by Bass Clarinet 2nd Bassoon optional)Horns in F 1, 2, 3 & 4Bb Trumpets 1, 2 & 3Trombones 1 & 2Bass TromboneTubaPercussion I High hat/Suspended Cymbal/Bass (Drum kit)Percussion II Tambourine/ShakerTimpani ( D, Bb G)Harp (optional)PianoViolin IViolin IIViolaCelloDouble BassBackgroundIce Castles is a 1978 American romantic drama film directed by Donald Wrye and starring Lynn-Holly Johnson and Robby Benson. It is the story of Lexie Winston, a young figure skater, and her rise and fall from super stardom. Tragedy strikes when, following a freak accident, Lexie loses her sight, leaving her to hide away in the privacy of her own despair. She eventually perseveres and begins competing in figure skating again. The work was filmed on location in Colorado and Minnesota. Its theme song Through the Eyes of Love, performed by Melissa Manchester, was nominated for the Academy Award for Best Original Song at the 52nd Academy Awards. [wikipedia]
$69.95 ≈
65.29€
Also Sprach Zarathustra for Brass Ensemble and Timpani
Also Sprach Zarathustra for Brass Ensemble and Timpani
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Flûte, Hautbois, Clarinette, Basson
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss Arranged by Ja
#
Richard Strass
#
Jari A
#
Also Sprach Zarathustra for Br
#
JV MUSIC
#
SheetMusicPlus
Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.722777 Composed by Richard Strass. Arranged by Jari A. Villanueva. Romantic Peri...
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Brass Ensemble Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.722777 Composed by Richard Strass. Arranged by Jari A. Villanueva. Romantic Period. Score and parts. 20 pages. JV MUSIC #4356585. Published by JV MUSIC (A0.722777). Also Sprach Zarathustra Brass Quintet with optional TimpaniTheme from 2001 A Space OdysseyBy Richard Strauss Arranged by Jari Villanuevahttps://youtu.be/zfb_QWtQ5eYScore, 3 Trumpets in Bb, 2 Horns in F, 2 Trombones, Bass Trombone, Euphonium, Tuba and Timpani (optional) Optional sub parts for Eb Horn and TC Baritone provided.
$16.99 ≈
15.86€
Also Sprach Zarathustra for Brass Quintet with optional Timpani
Also Sprach Zarathustra for Brass Quintet with optional Timpani
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Richard Strauss Arranged by Ja
#
Richard Strauss
#
Jari A
#
Also Sprach Zarathustra for Br
#
JV MUSIC
#
SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.722780 Composed by Richard Strauss. Arranged by Jari A. Villanueva. Romantic Period. Score and parts. 12 pages. JV MU...
(+)
Brass Ensemble - Level 4 - SKU: A0.722780 Composed by Richard Strauss. Arranged by Jari A. Villanueva. Romantic Period. Score and parts. 12 pages. JV MUSIC #4356579. Published by JV MUSIC (A0.722780). Also Sprach Zarathustra Brass Quintet with optional TimpaniTheme from 2001 A Space OdysseyBy Richard Strauss Arranged by Jari Villanuevahttps://youtu.be/hojnKyapNJYScore, 2 Trumpets in Bb, Horn in F, Trombone, Tuba and Timpani (optional) Optional sub parts for Eb Horn and TC Trombone provided.
$12.99 ≈
12.12€
Romantic Flight
Romantic Flight
#
Various
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Dico
#
Romantic Flight
#
Dico
#
SheetMusicPlus
B-Flat Clarinet,Cello,Double Bass,E-Flat Alto Saxophone,Flugelhorn,Flute,Oboe,Percussion,Piano,Soprano Saxophone,Tenor Saxophone,Timpani,Violin - Level 4 - ...
(+)
B-Flat Clarinet,Cello,Double Bass,E-Flat Alto Saxophone,Flugelhorn,Flute,Oboe,Percussion,Piano,Soprano Saxophone,Tenor Saxophone,Timpani,Violin - Level 4 - SKU: A0.1250392 By Various. By John Powell. Arranged by Dico. Celtic,Film/TV,Irish,Video Game,Wedding. 30 pages. Dico #844704. Published by Dico (A0.1250392). WEDDING SERIES - a set of popular songs and wedding standards that I've been arranged for years (some aren't as standard, but still). The formations are varied, from duos to orchestras with chorus. Most are mixed/flexible sextets where some instruments can be replaced and, as a result, ensembles can be completely changed. Some arrangements have abbreviated versions (excerpts) and are in several keys to adapt to a wide range of voices. These options are available in my catalog.ROMANTIC FLIGHT - main theme from the Dreamworks motion picture How to Train Your Dragon, here arranged for flexible ensemble for wedding purposes.INSTRUMENTATION:- Score- Part 1 - Flute (*)- Part 2 - Oboe (*) / Clarinet / Soprano sax- Part 3 - Flugelhorn (*) / Horn in F / Alto sax- Percussion (2)- Piano- Strings (- Viola).
$32.00 ≈
29.87€
Romantic Flight
Romantic Flight
#
Various
#
Dico
#
Romantic Flight
#
Dico Ferreira
#
SheetMusicPlus
B-Flat Clarinet,Cello,Double Bass,E-Flat Alto Saxophone,Flugelhorn,Flute,Oboe,Percussion,Piano,Soprano Saxophone,Tenor Saxophone,Timpani,Violin - Level 4 - ...
(+)
B-Flat Clarinet,Cello,Double Bass,E-Flat Alto Saxophone,Flugelhorn,Flute,Oboe,Percussion,Piano,Soprano Saxophone,Tenor Saxophone,Timpani,Violin - Level 4 - SKU: A0.1250393 By Various. By John Powell. Arranged by Dico. Celtic,Film/TV,Irish,Video Game,Wedding. 30 pages. Dico Ferreira #844705. Published by Dico Ferreira (A0.1250393). WEDDING SERIES - a set of popular songs and wedding standards that I've been arranged for years (some aren't as standard, but still). The formations are varied, from duos to orchestras with chorus. Most are mixed/flexible sextets where some instruments can be replaced and, as a result, ensembles can be completely changed. Some arrangements have abbreviated versions (excerpts) and are in several keys to adapt to a wide range of voices. These options are available in my catalog.ROMANTIC FLIGHT - main theme from the Dreamworks motion picture How to Train Your Dragon, here arranged for flexible ensemble for wedding purposes.INSTRUMENTATION:- Score- Part 1 - Flute (*)- Part 2 - Oboe (*) / Clarinet / Soprano sax- Part 3 - Flugelhorn (*) / Horn in F / Alto sax- Percussion (2)- Piano- Strings (- Viola).
$32.00 ≈
29.87€
Fantasy on Ukrainian Bell Carol - Organ Score
Fantasy on Ukrainian Bell Carol - Organ Score
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Noël
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Brian Childers
#
Brian Childers
#
Fantasy on Ukrainian Bell Caro
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Chorister's Guild - Digital
#
SheetMusicPlus
3, 4, or 5 octabes handbells - Level 4 - SKU: C7.CGB1034 Composed by Brian Childers. Arranged by Brian Childers. Christmas. Master Ringer. With Brass qu...
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3, 4, or 5 octabes handbells - Level 4 - SKU: C7.CGB1034 Composed by Brian Childers. Arranged by Brian Childers. Christmas. Master Ringer. With Brass quintet or organ, timpani. Score. 8 pages. Chorister's Guild - Digital #CGB1034. Published by Chorister's Guild - Digital (C7.CGB1034). UPC: 749193026724.From Joshua 1:9: ...Be strong and courageous. Do not be afraid; do not be discouraged, for the Lord your God will be with you wherever you go. Resilience is a musical painting of the journey of life, and of a resilient soul. We hear the serenity of sure comfort at the beginning, and then a melody appears--it emanates peacefulness, but also challenge. Major seventh and minor seventh chords are used back-to-back to portray the juxtaposition of light and darkness. When the minor chords take over and the melody begins to fall, a contemplative, tearful section begins, only to be interrupted by a confident rhythm. The 11/8 time signature conveys unsteadiness, but as it continues and grows, it becomes steady and powerful. Finally, the main theme returns in exuberance--the true form of a resilient spirit. As the music comes to a close, the final chord is a major seventh, not minor--good has triumphed over evil--and the notes float up heavenward to the final resting place--it is finished; having persevered, the soul has earned its peaceful rest.
$6.95 ≈
6.49€
Scherzo from Symphony No. 4 for 15-part Brass ensemble & Timpani
Scherzo from Symphony No. 4 for 15-part Brass ensemble & Timpani
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Ensemble de cuivres
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AVANCÉ
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Classique
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Anton Bruckner
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Brennan Johns
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Scherzo from Symphony No. 4 fo
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble - Level 5 - SKU: A0.792534 Composed by Anton Bruckner. Arranged by Brennan Johns. 20th Century,Classical,Romantic Period. Score and parts...
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Brass Ensemble - Level 5 - SKU: A0.792534 Composed by Anton Bruckner. Arranged by Brennan Johns. 20th Century,Classical,Romantic Period. Score and parts. 69 pages. Gordon Cherry #5008375. Published by Gordon Cherry (A0.792534). Symphony No. 4, also known by the composer himself as the Romantic was written in 1874, but revised several times and premiered in 1881 in Vienna. The subtitle actually does not refer to romantic love, but a medieval romance such as some of Wagner's operas.The movement titled Scherzo is full of adventure and vitality with a relaxed middle section. Bruckner himself hinted that the Scherzo movement was a Jadthema or hunting theme and Volkfest or people's festival. The hunting horns are calling, the brass are blowing their fanfares and it is a good day to be hunting. The main feeling from this movement is a strong feeling of the great outdoors.Mr. Johns has arranged this work for 14-part brass ensemble including optional Timpani.The instrumentation is: 4 Trumpets (including piccolo, C, B-flat and Flugelhorn) 4 Horns 4 Trombones, Euphonium and Tuba Timpani (optional)This work is suitable for advanced performers and is about 5 minutes in length.
$42.50 ≈
39.67€
The Vampire: A Dramatic Theme
The Vampire: A Dramatic Theme
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Sol Paul Levy
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Eric J Roth
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The Vampire: A Dramatic Theme
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Eric J Roth
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 ...
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Solo Guitar - Level 4 - SKU: A0.914739 Composed by Sol Paul Levy (1881-1920). Arranged by Eric J Roth. 20th Century,Romantic Period. Individual part. 6 pages. Eric J Roth #4593125. Published by Eric J Roth (A0.914739). 6 pages (2 pages of music) formatted for 8.5x11 printing.Sol Paul Levy, born in Chicago, Illinois in 1881, was a composer, arranger and performer of silent film music. He attended All Hallows College in Dublin, Ireland and served as first clarinetist in bands led by John Philip Sousa and Arthur Pryor. Levy led the foreign orchestrating department for Victor Records – which was the first music company to produce the disc record – and was a founder of Belwin Music. Levy compiled a series of photoplay cues for piano that was published in H.S. Gordon’s 1914 Motion Picture Collection. He also wrote songs, the most famous of which was That Naughty Waltz. Sol Paul Levy died in New York in 1920. During the Silent Film Era (1896-1936), showings usually featured live music, which helped to provide dramatic and emotional cues for the audience. The first public silent film shown in 1895 was accompanied by a guitarist. Soon after, films were commonly accompanied by either a pianist, organist, or chamber orchestra. Accompanists often improvised or compiled music from the classical, theatrical or popular repertories using a cue sheet identifying the effects or moods to be conveyed. While some films produced full scores or detailed cue sheets containing excerpts of music unique to that film, a repertoire of generic music soon developed to provide accompanists with music that they could adapt as needed. With titles such as Dramatic Conflict, Dramatic Tension, Heavy Mysterioso, and Weird Oriental Theme, Sol Paul Levy’s scores clearly served this purpose. The Vampire: A Dramatic Theme, composed in 1917, could have been easily adapted to any of the more than twenty films about vampires that appeared between 1909 and 1930. The score exists in three versions: one for small orchestra with piano conductor, one for chamber orchestra without piano, and one for chamber orchestra without timpani. Instruments included piano, flute, clarinet, two cornets, trombone, two timpani, two violins, viola, cello, and bass. Despite being composed for small orchestra, the piece, composed in A minor, is well suited to the guitar once instrumental and octave doublings are removed. While a solo guitar cannot produce the power and volume of a chamber orchestra, it certainly can evoke the intended mood. Except in a few instances owing to the limitations of the guitar, all original dynamic markings have been retained. All fingerings, of course, are editorial. Please note that some of the fingerings in the score may differ than those used in the linked YouTube Video.
$3.99 ≈
3.72€
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Individual Parts 2 (Strings, Harp, Timpani, Pe
The Satyricon, A Balletic Roman Sex Comedy in 3 Acts, Individual Parts 2 (Strings, Harp, Timpani, Pe
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Ensemble de Percussions
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AVANCÉ
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James Nathaniel Holland
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The Satyricon, A Balletic Roma
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James Nathaniel Holland
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SheetMusicPlus
Percussion Ensemble - Level 5 - SKU: A0.730494 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 326 pages. James Nathani...
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Percussion Ensemble - Level 5 - SKU: A0.730494 Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 326 pages. James Nathaniel Holland #4800780. Published by James Nathaniel Holland (A0.730494). Advisory: Ballet story contains adult situation and themes. Not suitable for audiences or performers under the age of 18. INDIVIDUAL INSTRUMENT PARTS 2 (Strings, Harp, Timpani and Percussion). Piano Score, Full Orchestral Score, Individual Parts (Part 1) Sold Separately. American composer, James Nathaniel Holland, brings a ballet adapted from the first century Roman novel by Gaius Petronius (cir. 50 A.D.) to the stage. An entertaining ballet for adults (not suitable for general audiences under the age of 18), celebrating the male ballet dancer's physique and a laugh at our own human sexuality. The comedy is a romp of three gay protagonists and their adventures and misadventure in ancient Rome and their characters; an ex-gladiator, Enclopius, his young lover, Giton, and an upper class snob, Ascyltos. It should also be said that this ballet is not pure gratuitous vulgarity, there is a interweaving story containing a deeper message of real human relationships, the satire of ancient Roman archetypes, and a humorous glimpse into ancient Roman life that still rings true even 2,000 plus years later. Regardless of the subject matter, Holland's original music is fantastic tapestry of counterpoint, set in a sort of atonal-ism and heavy percussion, evoking a period of history no longer available to us. Although not all cues and counterpoint is contained here, this piano score is extremely useful for either a performance with 2 pianos and percussion and a dance company, a director's/choreographer's score, or a concise conductor's score, or rehearsal score. Measure numbers line up with the full score. An orchestral, performance CD is available for those company's on a budget.
$34.95 ≈
32.62€
Theme and Variations (Andante) from Symphony No. 94 ("Surprise")
Theme and Variations (Andante) from Symphony No. 94 ("Surprise")
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Orchestre d'harmonie
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AVANCÉ
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Classique
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Franz Joseph Haydn
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Ted R
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Theme and Variations
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Ted R. Marcus
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SheetMusicPlus
Concert Band - Level 5 - SKU: A0.840485 Composed by Franz Joseph Haydn. Arranged by Ted R. Marcus. Classical,Contest,Festival,Historic. Score and Parts....
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Concert Band - Level 5 - SKU: A0.840485 Composed by Franz Joseph Haydn. Arranged by Ted R. Marcus. Classical,Contest,Festival,Historic. Score and Parts. 93 pages. Ted R. Marcus #3368179. Published by Ted R. Marcus (A0.840485). The tonal palette of the modern concert band brings fresh color and variety to the complete second movement of Haydn's Surprise Symphony. The famous theme and one of the variations explore the subtle contrast between bassoon and English horn. The original repeats are opened up and scored differently, using contrasting colors and combinations of solo clarinet, solo flute, piccolo, and soprano saxophone. A repeated section first has a flute and oboe accompanied with clarinets, then a saxophone quartet on the repeat. One variation features a solo piccolo and bells. And a prominent pair of horns recalls the sound of Haydn's divertimenti for wind ensemble. Duration: approx. 6:00. Written for an adult community band, this challenging arrangement is appropriate for a university, college, or community band, or an adventurous high school wind ensemble. The bassoon, English horn, and soprano saxophone parts are all fully cued to allow rehearsal or performance in the absence of any or all of them. Two strong horn players are essential; but the third and fourth horn parts are easier, and cued in trombones and euphonium. The bassoon parts use the tenor clef and ascend to a high B-flat; the second bassoon has only one 8-measure high passage that doubles the horns and can be omitted if necessary. The alternate versions of both bassoon parts use only bass clef but are otherwise identical. All essential bassoon passages are cued in saxophone and bass clarinet parts.Instrumentation: Piccolo / Flute 1-2 / Oboe / English Horn / Clarinet 1-2-3 / Alto Clarinet / Bass Clarinet / Bassoon 1-2 (and alternate parts using only bass clef) / Soprano Saxophone / Alto Saxophone / Tenor Saxophone / Baritone Saxophone / Trumpet 1-2-3 / Horn 1-2-3-4 / Trombone 1-2-3 / Euphonium / Baritone T.C. / Tuba / String Bass / Percussion (snare drum, crash cymbals) / Mallets (xylophone, bells) / TimpaniPlease visit my Web site to explore more classics for adventurous concert bands.
$45.00 ≈
42.00€
Rachmaninoff: Alla Marcia in g Minor | Full Orchestra (Set of Parts)
Rachmaninoff: Alla Marcia in g Minor | Full Orchestra (Set of Parts)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Sergei Rachmaninoff
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Michael Barrera
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Rachmaninoff: Alla Marcia in g
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Michael Barrera
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.998578 Composed by Sergei Rachmaninoff. Arranged by Michael Barrera. Romantic Period. 76 pages. Michael Barrera #6256...
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Full Orchestra - Level 3 - SKU: A0.998578 Composed by Sergei Rachmaninoff. Arranged by Michael Barrera. Romantic Period. 76 pages. Michael Barrera #6256209. Published by Michael Barrera (A0.998578). Https://www.michaelbarreraflute.com/shop/p/alla-marcia-orchestra-parts Program Notes Sergei Rachmaninoff’s Alla Marcia in g Minor is arguably one of his most popular pieces that is still played today. This prelude was included as number 5 in his Opus 23, a set of ten preludes for solo piano. Rachmaninoff himself premiered this prelude in Moscow in 1903, along with Preludes 1 and 2 from this set. It begins with quiet yet decisive sixteenth note figures setting the mood for a minor march. Following this, the relative major Eb comes in full force expanding this sixteenth note figure with a descant-like melody. After a return to g minor, the energy of the opening march dissipates as a new lyrical melody takes the forefront, accompanied by sweeping arpeggios. This section is much melancholier than before. As this theme fades, the march returns slowly out of the mist that the previous section created. It builds to the return of the Eb major section that leads into a continuation of the march theme. This fades into a quick rising figure to finish the prelude. This arrangement captures both the energy of the march and the beauty of the lyrical middle section. Instrumentation 2 Flutes 2 Oboes 2 Clarinets (B flat) 2 Bassoons 4 Horns (F) 3 Trumpets (B flat) 2 Trombones 1 Bass Trombone 1 Tuba Timpani Snare Drum Tambourine Harp (substitute piano if necessary) Violins I and II Viola Violincello Double Bass.
$79.99 ≈
74.66€
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750706 Composed by Silvano A. Pagliuca-Mena. Jazz. Score and Parts. 46 pages. Soundnotation #4251133750706. Published by Soundnotation (2S.4251133750706). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
13.02€
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
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Jazz
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Silvano A
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Introduction, Theme and Variat
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Soundnotation
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SheetMusicPlus
Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin ...
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Full Orchestra Flute, Oboe, Clarinet in Bb, Bassoon, French Horns in F I and II, Trumpet in Bb, Trombone, Percussion, (Timpani, Glockenspiel), Violin I, Violin II, Viola, Violoncello, Double bass - Advanced - SKU: 2S.4251133750690 Composed by Silvano A. Pagliuca-Mena. Jazz. Score. 29 pages. Soundnotation #4251133750690. Published by Soundnotation (2S.4251133750690). La Cabra Mocha (Full Score) is a Gaita de Furro. Because it belongs to the folklore of Zulia, its origin remains unclear and a dispute over the authorship of the composition currently revolves around Pradelio Hernandez and Jesus Lozano. Although its date of origin is considered equally indefinable for the same reason, its official appearance can be narrowed down to the middle of the 20th century. Probably it's much older, but due to the technological improvements of music recording, the piece became popular only later. La Cabra Mocha is a musical jewel that tells the story of a nation who has a wisdom and finds in music the way to express itself. The history of its transculturation is remarkable, although it also carries contradictions, depending on the way of representing. Sometimes its imposed stereotypes are accepted by society due to a lack of self-knowledge, which ultimately leads to a change of identity, where some elements are transfigured and others are replaced. Arranging a Gaita de Furro for youth orchestra makes sense for the following reasons: First and foremost, the self-knowledge of a society should start from the childhood and should be cultivated and carried on from generation to generation, thereby conserved. Moreover, a lack of a pedagogical act, thus a pedagogical repertoire, is one of the main causes for the ignorance of Venezuelan music. Another important aspect is the transformation or adaptation as a process of maintaining Venezuelan musical culture. Many children already present the intention of the composition by drawing their attention to the formation of the orchestra, which represents a globally unified language as a network of distribution and which is locally independent. Wherever the composition is played - each orchestra will be able to maintain the quality and expressiveness of the piece without hiding its identity. The piece opens with a fanfare introduction of the Cabra Mocha, followed by a drum roll, which reminds of the drummer's traditional reputation and introduces the theme whose chorus is represented by the tutti and its verses by the soli. The first variation consists of a two-bar rhythm and major tonality, full of wit and cunning. The following variation is an Adagio with a three-part rhythm in minor. Then the timpani return to initiate the theme, this time shortened by its Reprise, which finally leads to a polyphonic Codetta. On an interpretative level, the return of variation can be compared with the return of education and thus, to a certain extent, improvisation. This is a very striking factor of traditional music, which is represented as a fitting metaphor in the form of harmonic and rhythmic reference within the composition. Introduccion, Tema y Variaciones sobre la Cabra Mocha was composed in the last weeks of 2012 and won the first prize in the composition competition for the Youth Orchestra of Zulia, which was awarded by the Venezuelan Orchestra in its first edition in 2013. At the beginning of 2014 Silvano Pagliuca-Mena made a small revision of the piece. Silvano Antonio Pagliuca Mena was born on 10 May 1991 in Maracaibo, Venezuela. Despite his Italian and Spanish roots, he has always remained true to his love for the music of his homeland, which is why his compositions always carry Venezuelan impressions, but also influences like academic western music, jazz and popular music.
$13.95 ≈
13.02€
Classic Themes - Arranged for Beginning Band
Classic Themes - Arranged for Beginning Band
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Orchestre d'harmonie
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DÉBUTANT
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Classique
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Franz Schubert, Johannes Brahm
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Alexandre CARLIN
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Classic Themes - Arranged for
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Alexandre CARLIN
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.779814 Composed by Franz Schubert, Johannes Brahms, and Ludwig van Beethoven. Arranged by Alexandre CARLIN. Classical,R...
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Concert Band - Level 1 - SKU: A0.779814 Composed by Franz Schubert, Johannes Brahms, and Ludwig van Beethoven. Arranged by Alexandre CARLIN. Classical,Romantic Period,Standards. Score and parts. 27 pages. Alexandre CARLIN #4986137. Published by Alexandre CARLIN (A0.779814). Classic Themes is a medley of three famous tunes from great composers (Schubert's military march, Brahms' first symphony, Beethoven's ode to joy), arranged for beginning band by Alexandre CARLIN. Grade 1. Very fun to play ! All instruments parts provided : flute, oboe, bassoon, clarinet, bass clarinet, alto saxophone, tenor saxophone, baritone saxophone, trumpet, horn, trombone, euphonium, tuba, timpani, glockenspiel, drum set. Duration : 3:00. 8 pages score. 19 pages of parts.
$29.99 ≈
27.99€
Farandole (From L'Arlésienne ) (Orchestra/Concert Band Flexible Instrumentation)
Farandole (From L'Arlésienne ) (Orchestra/Concert Band Flexible Instrumentation)
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Classique
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Georges Bizet
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Frank Chow
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Farandole
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Frank Chow
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.902746 Composed by Georges Bizet. Arranged by Frank Chow. Instructional,Romantic Period. Score and parts. 59 pages. Fra...
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Concert Band - Level 3 - SKU: A0.902746 Composed by Georges Bizet. Arranged by Frank Chow. Instructional,Romantic Period. Score and parts. 59 pages. Frank Chow #6858701. Published by Frank Chow (A0.902746). Farandole is the finale of L'Arlésienne Suite No. 2. Published in 1879, the opening theme of this movement is also known as March of the Kings, which is an Epiphany carol. This energetic theme appears in the prelude of Suite No. 1 too. The flexible instrumentation arrangement enables a mixture of instruments, from small ensemble to full orchestra. This arrangement is suitable for junior players who have played the instrument for 1 year or above. Essential fingerings and bowings are provided in the string parts.InstrumentationPart 1: Violin, Flute, Oboe, Clarinet, TrumpetPart 2: Violin, Flute, Clarinet, Alto Saxophone, TrumpetPart 3: Viola, Violin(Viola T.C.), Alto Saxophone, Tenor Saxophone, Bassoon, Horn, Trombone, EuphoniumPart 4: Cello, Double Bass, Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, TubaPercussion: Timpani, Snare Drum, Bass Drum, Cymbal, Triangle, Tambourine, Mallet PercussionCondense Score & Full ScoreContactEmail:walter1994430@gmail.comWebsite: https://walter1994430.wixsite.com/frankchow
$30.00 ≈
28.00€
Intermezzo from "L'Arlesienne Suite No. 2" for Concert Band
Intermezzo from "L'Arlesienne Suite No. 2" for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Classique
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Georges Bizet
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Diego Marani
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Intermezzo from "L'Arlesi
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Diego Marani
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.528106 Composed by Georges Bizet. Arranged by Diego Marani. Classical,Concert,Romantic Period,Standards. Score and part...
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Concert Band - Level 3 - SKU: A0.528106 Composed by Georges Bizet. Arranged by Diego Marani. Classical,Concert,Romantic Period,Standards. Score and parts. 38 pages. Diego Marani #4742267. Published by Diego Marani (A0.528106). L'Arlésienne Suite No. 2 was arranged and published in 1879, four years after Bizet's death, by Ernest Guiraud, using Bizet's original themes (although not all of them were from the L'Arlésienne incidental music). The second suite is generally credited to Bizet since he wrote the themes and the basic orchestration. This arrangement for Concert Band includes the second movement of the suite (Intermezzo), a marvelous melody where Guiraud added to it the Latin sacred text of the Agnus Dei.Set of parts includes: Flute, Oboe, Bassoon, Bb Clarinet 1-2-3, Bb Bass Clarinet, Eb Alto Saxophone 1-2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1-2, F/Eb Horn 1-2, C/Bb Trombone 1-2, C/Bb Baritone, C/Bb Tuba, String Bass, Timpani, Harp or Piano (optional part).
$34.99 ≈
32.66€
Waltz of the Flowers for CONCERT BAND - from Nutcracker - TCHAIKOVSKY
Waltz of the Flowers for CONCERT BAND - from Nutcracker - TCHAIKOVSKY
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Piotr Ilitch Tchaikovski
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Marc GARETTO
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Waltz of the Flowers for CONCE
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Marc GARETTO - Harmonie Editions
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.722937 Composed by Piotr Ilitch Tchaikovski. Arranged by Marc GARETTO. 20th Century,Holiday,Romantic Period,Standards. ...
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Concert Band - Level 4 - SKU: A0.722937 Composed by Piotr Ilitch Tchaikovski. Arranged by Marc GARETTO. 20th Century,Holiday,Romantic Period,Standards. Score and parts. 79 pages. Marc GARETTO - Harmonie Editions #6565353. Published by Marc GARETTO - Harmonie Editions (A0.722937). Composé par / Composed by Piotr Ilitch TCHAIKOVSKYArrangé par / Arranged by Marc GARETTO. Demo/VideoScore : https://youtu.be/XGt_OzUh1pg One of the most famous theme of Classical Music.from Nutcracker - Issu de Casse-Noisettes Piccolo / Flute 1&2 / Oboe / BassonClarinet 1 / Clarinet 2 / Clarinet 3 / Bass ClarinetSoprano Sax / Alto Sax 1 / Alto Sax 2 / Tenor Sax / Baritone SaxTrumpet 1 / Trumpet 2 / F Horn 1&2 / Trombone 1 / Trombone 2 / Bass Trombone / Euphonium / TubaTimpani / Glockenspiel / Triangle / Piano (opt.) Score, Set of Parts. 79 pages. Published by Harmonie Editions Free additionnal world parts on request by e-mailParties supplémentaires gratuites, demande par e-mailcontact@harmonie-editions.comArranged for Concert Band / Arrangement pour HarmonieDurée / Duration : 5'50''Niveau / Grade : 4 /5Tonalité / Key : MIb Majeur // Eb major
$80.00 ≈
74.67€
Divinum Mysterium
Divinum Mysterium
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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12th Century Plainchant
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Robert Myers
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Oboe 1,2
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Divinum Mysterium
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score ...
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Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB
$75.00 ≈
70.00€
A Fistful Of Dollars
A Fistful Of Dollars
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Orchestre d'harmonie
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FACILE
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Film/TV
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Ennio Morricone
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Ennio Morricone
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Lorenzo Bocci
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A Fistful Of Dollars
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Lorenzo Bocci
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.1403955 By Ennio Morricone. By Ennio Morricone. Arranged by Lorenzo Bocci. Film/TV. 63 pages. Lorenzo Bocci #987080. Pu...
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Concert Band - Level 2 - SKU: A0.1403955 By Ennio Morricone. By Ennio Morricone. Arranged by Lorenzo Bocci. Film/TV. 63 pages. Lorenzo Bocci #987080. Published by Lorenzo Bocci (A0.1403955). A FISTFUL OF DOLLARS (Per un pugno di dollari) From A Fistful Of Dollarsfor Solo Trumpet and Concert Band (with Fanfare Band parts) - Grade 3 - Composed by Ennio Morricone. Arranged by Lorenzo Bocci. Film/TV. Concert Band - Blasorchester - Harmonie. For Solo Trumpet and Concert Band. With optional Choir (SATB). Score and parts. With Fanfare Band parts. Duration 1'49''. Published by Lorenzo Bocci.Instrumentation:Full Score, Bb Solo Trumpet, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Double Bass, Timpani, Percussion 1 (Bass Drum, Cymbals), Percussion 2 (Snare Drum, Castanets), Guitar, Choir (SATB) (Opt.).Additional Parts:Bb Soprano Saxophone (CB, FA), Eb Horn 1, 2, 3, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.Fanfare Band Parts:Eb Cornet, Bb Flugelhorn 1, 2, 3.A Fistful of Dollars (Per un pugno di dollari) is a film directed by Sergio Leone and starring Clint Eastwood in his first leading role, alongside Gian Maria Volonté, Marianne Koch, Wolfgang Lukschy, Sieghardt Rupp, José Calvo, Antonio Prieto and Joseph Egger. Released in Italy in 1964 and in the United States in 1967, the film initiated the popularity of the spaghetti Western genre. It was followed by For a Few Dollars More and The Good, the Bad and the Ugly, both also starring Eastwood. Collectively, the films are known as the Dollars Trilogy, or the Man with No Name Trilogy. The film's music was written by Ennio Morricone. Sergio Leone requested Morricone to write a theme that would be similar to Dimitri Tiomkin's El Degüello (used in Rio Bravo). Although the two themes are similar, Morricone stated that he used a lullaby that he had composed previously, and developed the theme from that. The song is characterized by a famous trumpet solo, played by the Apulian Michele Lacerenza; it was also released on 45 rpm by RCA Italiana and was one of the best-selling records of the year.Subscribe to my YouTube Channel to stay updated on new releases.
$79.00 ≈
73.74€
Fanfare for Tony (Score and parts)
Fanfare for Tony (Score and parts)
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Contemporain
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Gordon Thornett
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Fanfare for Tony
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Gordon John Thornett
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SheetMusicPlus
Small Ensemble Timpani - Level 5 - SKU: A0.821197 Composed by Gordon Thornett. Contemporary. Score and parts. 60 pages. Gordon John Thornett #2033367. P...
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Small Ensemble Timpani - Level 5 - SKU: A0.821197 Composed by Gordon Thornett. Contemporary. Score and parts. 60 pages. Gordon John Thornett #2033367. Published by Gordon John Thornett (A0.821197). Fanfare for Tony was written for the inaugural conference of the British Association for Music Therapy, and first performed on 21st February 2014 by students of Birmingham Conservatoire of Music, and this is a slightly shortened version. The piece, scored for ten brass instruments and timpani, was written in memory of Prof. Tony Wigram, a leading figure in the world of music therapy, who died in 2011. It contains a number of passing references to music therapy songs, and quotations from music strongly associated with Tony's family, including a Danish folksong (introduced by the four trombones), and a theme from the Organ Symphony by Saint-Saens. A short fugato section leads to a triumphant ending, featuring the German hymn tune Nun danker alle Gott.
$19.99 ≈
18.66€
Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). 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 Patre”, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations”, 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 Deo”, „et ascendit in caelis”, „in remissionem peccatorum” and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est”, a cross-shaped texture at „crucifixus”, and some word-painting (hushed sonorities at „et invisibilium”, 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 lingua”, 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 saeculi”, 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 „Sanctus”). „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 Dei”, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi” and „dona nobis pacem”). 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.
$87.99 ≈
82.13€
Missa Solemnis, op. 27 (parts)
Missa Solemnis, op. 27 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #8...
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Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). 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 Patre”, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations”, 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 Deo”, „et ascendit in caelis”, „in remissionem peccatorum” and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est”, a cross-shaped texture at „crucifixus”, and some word-painting (hushed sonorities at „et invisibilium”, 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 lingua”, 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 saeculi”, 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 „Sanctus”). „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 Dei”, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi” and „dona nobis pacem”). 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.
$160.00 ≈
149.34€
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Theme from Ant Man Timpani
