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29 sheet music found Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra # Jazz # Silvano A # Introduction, Theme and Variat # Soundnotation # 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 ...(+)
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 - Digital Download 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. Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra
Introduction, Theme and Variations on "La Cabra Mocha" for Youth Orchestra # Jazz # Silvano A # Introduction, Theme and Variat # Soundnotation # 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 ...(+)
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 - Digital Download 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. Arirang (for String Orchestra/Quintet and Piano)
Arirang (for String Orchestra/Quintet and Piano) # Folk Song # Wendy Hellmann # Arirang # Gwendolyn Hellmann # SheetMusicPlus
String Ensemble,String Quintet Cello,Double Bass,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1098897 Composed by Folk Song. Arranged by Wendy...(+)
String Ensemble,String Quintet Cello,Double Bass,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1098897 Composed by Folk Song. Arranged by Wendy Hellmann. Folk,Multicultural,Traditional,World. Score and parts. 28 pages. Gwendolyn Hellmann #702748. Published by Gwendolyn Hellmann (A0.1098897). Perhaps the most famous folk song in Korea, this soaring arrangement of Arirang is for string orchestra or quintet and piano. The melody is passed throughout the orchestra, with lush harmonies in the beginning and a lively middle section. Although there is a piano part, this piece is harmonically stable as a string ensemble on its own. This is an uplifting addition to any concert program! The PDF download contains both a full score and a set of individual parts - Violin 1, Violin 2, Viola, Cello, Bass, and Piano. All parts are formatted on 2 pages to avoid any page turns. Westerly for flute, violin and string orchestra (mp3)
Westerly for flute, violin and string orchestra (mp3) # Alec Keith, Matt Weiss, Octava # Westerly for flute, violin and # David Warin Solomons # SheetMusicPlus
Strings Flute,Violin - Level 4 - Digital Download SKU: A0.1256762 By Alec Keith, Matt Weiss, Octava Chamber Orchestra. By David Warin Solomons. 20th Cent...(+)
Strings Flute,Violin - Level 4 - Digital Download SKU: A0.1256762 By Alec Keith, Matt Weiss, Octava Chamber Orchestra. By David Warin Solomons. 20th Century,21st Century. Full Performance. Duration 628. David Warin Solomons #850134. Published by David Warin Solomons (A0.1256762). Performed here by Alec Keith (flute), Matt Weiss (violin) and the Octava Chamber Orchestra under guest conductor Ian AlvarezWesterly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk songIt is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF]In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme).The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. Westerly for flute, violin and string orchestra (SCORE and PARTS)
Westerly for flute, violin and string orchestra (SCORE and PARTS) # David Warin Solomons # Westerly for flute, violin and # David Warin Solomons # SheetMusicPlus
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultura...(+)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 64 pages. David Warin Solomons #566725. Published by David Warin Solomons (A0.576980). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. Â The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. The pdf file contains score and parts. Westerly for flute, violin and string orchestra (SCORE only)
Westerly for flute, violin and string orchestra (SCORE only) # David Warin Solomons # Westerly for flute, violin and # David Warin Solomons # SheetMusicPlus
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultura...(+)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 27 pages. David Warin Solomons #566727. Published by David Warin Solomons (A0.576981). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. Jewish Festival (for String Orchestra/Quintet)
Jewish Festival (for String Orchestra/Quintet) # Klezmer # Moshe Nathanson and Samuel Gol # Wendy Hellmann # Jewish Festival # Gwendolyn Hellmann # SheetMusicPlus
String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1086330 Composed by Moshe Nathanson and Samuel Goldfar...(+)
String Ensemble,String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.1086330 Composed by Moshe Nathanson and Samuel Goldfarb. Arranged by Wendy Hellmann. Folk,Hanukkah,Holiday,Traditional. Score and parts. 19 pages. Gwendolyn Hellmann #690517. Published by Gwendolyn Hellmann (A0.1086330). This festive arrangement includes three popular Jewish folk songs: Shalom Chaverim, Hava Nagila, and The Dreidel Song. Written in the keys of D minor and G Major, it fits comfortably in the hand on all string instruments. Each part is unique and is equally interactive for all players, including viola and double bass solos. From an educational aspect, Jewish Festival reinforces the concept of augmented 2nds. It also features easy double stops and harmonics in 1st position. With plenty of dramatic dynamic contrasts and fun tempo changes, this piece makes an excellent addition to any holiday concert program! The PDF download contains both a full score and a set of parts - Violin 1, Violin 2, Viola, Cello, and Bass. Home Away From Home
Home Away From HomeBrass ensemble, Percussion
Intermediate level # Film/TV # James Galway And Phil Coulter # Karen Unsworth # Home Away From Home # KUnsworth # SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...(+)
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.1402162 By James Galway And Phil Coulter. By Phil Coulter. Arranged by Karen Unsworth. Folk,Traditional. Brass Band. 36 pages. KUnsworth #985370. Published by KUnsworth (A0.1402162). A Beautiful brass band arrangement. The Mexican Hat Dance
The Mexican Hat DanceMariachi
Easy level # Latin/World Music # traditional Mexican Folk Dance # Donald Jay Smith # The Mexican Hat Dance # Donald Jay Smith Music # SheetMusicPlus
Mariachi Band - Level 2 - Digital Download SKU: A0.1405367 Composed by traditional Mexican Folk Dance. Arranged by Donald Jay Smith. Mariachi. Mariachi B...(+)
Mariachi Band - Level 2 - Digital Download SKU: A0.1405367 Composed by traditional Mexican Folk Dance. Arranged by Donald Jay Smith. Mariachi. Mariachi Band. 18 pages. Donald Jay Smith Music #988411. Published by Donald Jay Smith Music (A0.1405367). This is from a collection of pieces I originally arranged for my Middle School Mariachi Band at Curtis Corner Middle School in Wakefield, Rhode Island. Since that time, I have used these arrangements with all ages through college, pros, and especially two families that happened to have the correct instrumentation between the parents and their children. At the middle school, the strings were more advanced than the trumpets and I needed to deal with young string players only being familiar playing sharp keys and brass players only being familiar with flat keys. My solution for one of the first arrangements was in â??Mexican Hat Danceâ?. I assigned the violins two simple double stops (their first double stops: one finger in low first position while bowing both the A and E string-the first finger on the E string is an F chord and first finger on the A string is a C7 chord). I split the four songs, two in flat keys two in sharp keys. The trumpets were assigned several unfamiliar pitches in the sharp keys like G#, but with plenty of repetition and not technically challenging figures except in the bridge of â??Mexican Hat Danceâ?. I intended to cover that part of the song on my trumpet, but the trumpets always rose up and nailed it!The set we usually played included: â??La Cucarachaâ?, â??Cielito Lindoâ?, â??De Coloresâ?, and â??Mexican Hat Danceâ?, all available here.