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27 sheet music found
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1
26
La cucaracha - tamburitza orchestra
La cucaracha - tamburitza orchestra
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Orchestra
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INTERMEDIATE
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Traditional
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Zoran Radanovic
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La cucaracha - tamburitza orch
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Zoran Radanovic
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1000800 Composed by Traditional. Arranged by Zoran Radanovic. Folk,Latin,World. Score and parts. 11 p...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1000800 Composed by Traditional. Arranged by Zoran Radanovic. Folk,Latin,World. Score and parts. 11 pages. Zoran Radanovic #6425019. Published by Zoran Radanovic (A0.1000800). The arrangement is made for a tamburitza orchestra. The musicians need very good concentration because of the music score (solo, accompaniment, dynamics, gradually adding instruments to the score). Das Arrangement ist für ein Tamburitza-Orchester gemacht. Die Musiker brauchen aufgrund der Musikpartitur eine sehr gute Konzentration (Solo, Begleitung, Dynamik, schrittweise Hinzufügen von Instrumenten zur Partitur). Aranžman je napravljen za tamburaÅ¡ki orkestar. Glazbenicima je potrebna vrlo dobra koncentracija zbog glazbene partiture (solo, pratnja, dinamika, postupno dodavanje instrumenata u partituru). A feldolgozás tamburica zenekarra készült. A zenészeknek nagyon jó koncentrációra van szükségük a kották miatt (szóló, kÃséret, dinamika, fokozatosan csatlakoznak a hangszerek).
$9.99 ≈
£7.73
La cucaracha - brass orchestra
La cucaracha - brass orchestra
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Orchestra
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INTERMEDIATE
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Traditional
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Zoran Radanovic
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La cucaracha - brass orchestra
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Zoran Radanovic
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1000803 Composed by Traditional. Arranged by Zoran Radanovic. Folk,Latin,World. Score and parts. 28 p...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1000803 Composed by Traditional. Arranged by Zoran Radanovic. Folk,Latin,World. Score and parts. 28 pages. Zoran Radanovic #6425023. Published by Zoran Radanovic (A0.1000803). The arrangement is made for a brass orchestra( 2 C trumpets, 1 Bb cornet, 1 horn in F, 1 Bb trumpet, 4 trombones, 2 alto trombones and 1 tuba). The musicians need very good concentration because of the music score (solo, accompaniment, dynamics, gradually adding instruments to the score).Das Arrangement ist für ein Blechbläserorchester (2 C-Trompeten, 1 B-Kornett, 1 Horn in F, 1 B-Trompete, 4 Posaunen, 2 Altposaunen und 1 Tuba). Die Musiker brauchen aufgrund der Musikpartitur eine sehr gute Konzentration (Solo, Begleitung, Dynamik, schrittweise Hinzufügen von Instrumenten zur Partitur). Aranžman je napravljen za limeni puhaÄki orkestar (2 C trube, 1 Bb kornet, 1 rog u F, 1 Bb truba, 4 trombona, 2 alt trombuna i 1 tuba). Glazbenicima je potrebna vrlo dobra koncentracija zbog glazbene partiture (solo, pratnja, dinamika, postupno dodavanje instrumenata u partituru). A hangszerelés rézfúvós zenekarra készült (2 C trombita, 1 Bb korona, 1 F kürt, 1 Bb trombita, 4 harsona, 2 alt harsona és 1 tuba). A zenészeknek nagyon jó koncentrációra van szükségük a kották miatt (szóló, kÃséret, dinamika, fokozatosan csatlakoznak a hangszerek).
$9.99 ≈
£7.73
L' heure de la Mort (for Orchestra with Cello Solo)
L' heure de la Mort (for Orchestra with Cello Solo)
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Orchestra
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INTERMEDIATE
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Contemporary
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Tito Abeleda
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L' heure de la Mort
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Visionary Quest Records
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.984558 Composed by Tito Abeleda. 20th Century,Contemporary. Score and parts. 73 pages. Visionary Ques...
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Full Orchestra - Level 3 - Digital Download SKU: A0.984558 Composed by Tito Abeleda. 20th Century,Contemporary. Score and parts. 73 pages. Visionary Quest Records #5712563. Published by Visionary Quest Records (A0.984558). L' heure de la Mort means the hour of death. L’ heure de la Mort allows one to reflect and to contemplate about the sanctity of life. Musicians, young and seasoned, will find this piece easily accessible and enjoyable for learning and performing. Audiences will identify with the musical emotionality conveyed in this piece as it takes its listeners on a vivid epic journey filled with much pathos. L' heure de la Mort (for Orchestra with Cello Solo) was composed by Tito Abeleda (1964 - ). Digital Download = 73 pages Level = Advanced IntermediateInstruments: Flute 1-2, Oboe, Clarinet 1-2, Bassoon1-2, Horn 1-4, Trumpet1-4, Trombone1-2, Timpani, Snare Drum, Bass Drum, Tubular Bells, Orchestral Bells, Cymbals, Piano, Violin 1-2, Viola 1-2, Violoncello Solo, Violoncello 1-2, ContrabassContact Tito for original compositions -Email: tito@visionaryquestrecords.comPRO: BMI.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunesSpecial Thanks to Ivan Siarbolin - photographer for sheet music cover.
$40.00 ≈
£30.96
Haydn - Symphony No.73 in D major, Hob.I:73 "La Chasse"
Haydn - Symphony No.73 in D major, Hob.I:73 "La Chasse"
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Orchestra
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Classical
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Franz Joseph Haydn
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J
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Haydn - Symphony No.73 in D ma
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.819667 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 128 pages. ...
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Full Orchestra - Digital Download SKU: A0.819667 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 128 pages. J.G. Cuco Barber #5988451. Published by J.G. Cuco Barber (A0.819667). Composer Haydn, JosephOpus/Catalogue Number Hob.I:73Key D majorMovements/Sections 4 movements:Adagio - Allegro (D major, 150 bars)Andante (G major, 113 bars)Minuet - Trio (D major, 74 bars)Presto La Chasse (D major, 252 bars)Year/Date of Composition 1781-82First Publication 1782 Christoph TorricellaAverage Duration 24 minutesComposer Time Period ClassicalPiece Style ClassicalInstrumentation: Orchestra:FluteOboe 1Oboe 2Bassoon 1Bassoon 2Horn in D 1 original & F transposedHorn in D 2 original & F transposedTrumpet in D 1 original & Bb transposedTrumpet in D 2 original & Bb transposedTimpaniViolin IViolin IIViolaVioloncelloContrabass
$28.00 ≈
£21.67
Haydn - Symphony No.63 in C major, Hob.I:63 "La Roxelane" Ver.I
Haydn - Symphony No.63 in C major, Hob.I:63 "La Roxelane" Ver.I
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Orchestra
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Classical
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Franz Joseph Haydn
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J
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Haydn - Symphony No.63 in C ma
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.819655 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 83 pages. J...
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Full Orchestra - Digital Download SKU: A0.819655 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 83 pages. J.G. Cuco Barber #5988413. Published by J.G. Cuco Barber (A0.819655). Composer Haydn, JosephOpus/Catalogue Number Hob.I:63Key C majorMovements/Sections 4 movements:Vivace (C major, 172 bars)La Roxelane. Allegretto più tosto allegro (C minor, 139 bars)Minuet – Trio (C major, 58 bars)Presto (C major, 205 bars)Year/Date of Composition 1777 ca.First Publication 1781 ca.?Average Duration 22 minutesComposer Time Period ClassicalPiece Style ClassicalInstrumentation: Orchestra:FluteOboe 1Oboe 2BassoonHorn in C 1 original & F transposedHorn in C 2 original & F transposedViolin IViolin IIViolaVioloncelloContrabass
$28.00 ≈
£21.67
Haydn - Symphony No.63 in C major, Hob.I:63 "La Roxelane" Ver.II
Haydn - Symphony No.63 in C major, Hob.I:63 "La Roxelane" Ver.II
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Orchestra
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Classical
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Franz Joseph Haydn
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J
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Haydn - Symphony No.63 in C ma
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.819657 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 101 pages. ...
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Full Orchestra - Digital Download SKU: A0.819657 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 101 pages. J.G. Cuco Barber #5988421. Published by J.G. Cuco Barber (A0.819657). Composer Haydn, JosephOpus/Catalogue Number Hob.I:63Key C majorMovements/Sections 4 movements:Vivace (C major, 172 bars)La Roxelane. Allegretto più tosto allegro (C minor, 139 bars)Minuet – Trio (C major, 58 bars)Finale. Prestissimo (C major, 235 bars)Year/Date of Composition 1779First Publication 1781 ca.?Average Duration 22 minutesComposer Time Period ClassicalPiece Style ClassicalInstrumentation: Orchestra:FluteOboe 1Oboe 2Bassoon 1Bassoon 2Horn in C 1 original & F transposedHorn in C 2 original & F transposedTrumpet in C 1 original & F transposedTrumpet in C 2 original & F transposedTimpaniViolin IViolin IIViolaVioloncelloContrabass
$28.00 ≈
£21.67
Haydn - Symphony No.83 in G minor, Hob.I:83 "La Poule"
Haydn - Symphony No.83 in G minor, Hob.I:83 "La Poule"
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Orchestra
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Classical
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Franz Joseph Haydn
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J
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Haydn - Symphony No.83 in G mi
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.819676 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 99 pages. J...
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Full Orchestra - Digital Download SKU: A0.819676 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 99 pages. J.G. Cuco Barber #5988637. Published by J.G. Cuco Barber (A0.819676). Composer Haydn, JosephOpus/Catalogue Number Hob.I:83Key G minorMovements/Sections 4 movements:Allegro (G minor, 193 bars)Andante (E♠major, 105 bars)Minuet – Trio (G major, 66 bars)Finale. Vivace (G major, 99 bars)Year/Date of Composition 1785First Publication 1787 - Vienna: ArtariaAverage Duration 21 minutesComposer Time Period ClassicalPiece Style ClassicalInstrumentation: Orchestra:FluteOboe 1Oboe 2Bassoon 1Bassoon 2Horn in G/Eb 1 original & F transposedHorn in G/Eb 2 original & F transposedViolin IViolin IIViolaVioloncelloContrabass
$28.00 ≈
£21.67
Haydn - Symphony No.49 in F minor, Hob.I:49 "La Passione"
Haydn - Symphony No.49 in F minor, Hob.I:49 "La Passione"
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Orchestra
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Classical
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Franz Joseph Haydn
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J
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Haydn - Symphony No.49 in F mi
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.819641 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 59 pages. J...
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Full Orchestra - Digital Download SKU: A0.819641 Composed by Franz Joseph Haydn. Arranged by J.G. Cucó Barber. Classical. Score and parts. 59 pages. J.G. Cuco Barber #5987629. Published by J.G. Cuco Barber (A0.819641). Composer Haydn, JosephOpus/Catalogue Number Hob.I:49Key F minorMovements/Sections 4 movements:Adagio (F minor, 96 bars)Allegro di molto (F minor, 140 bars)Minuet (F minor, 52 bars) - Trio (F major, 20 bars)Finale. Presto (F minor, 126 bars)Year/Date of Composition 1768First Publication 1771Average Duration 25 minutesComposer Time Period ClassicalPiece Style ClassicalInstrumentation: OrchestraOboe 1Oboe 2BassoonHorn in F 1Horn in F 2Violin IViolin IIViolaVioloncelloContrabass
$28.00 ≈
£21.67
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
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Orchestra
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INTERMEDIATE
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Patriotic
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Manuel de Espinosa de los Mo
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Keith Terrett
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Spanish National Anthem for Sy
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Music for all Occasions
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SheetMusicPlus
Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Per...
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Full Orchestra - Intermediate - Digital Download Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!
The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.
One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfant° Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.
There is a false belief that Marcha Real’s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La España militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espíritu Público (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II’s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.
According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II’s reign.
After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII’s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolomé Pérez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet José María Pemán in 1928.
The actual symphonic version of the Marcha Real that replaces the Pérez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas’ Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.
Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873–74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931–1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country’s national anthem, under its old title of La Marcha Granadera.
Interpretation and etiquette:
Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.
The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.
Being the National Anthem, and in honor of the King and Queen of Spain, it’s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.
The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.
The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.
There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.
As the harmonization of the Marcha Real was written by Bartolomé Pérez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Pérez Casas’ estate in 1997 for 130,000,000 pesetas (~ € 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.
As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00 ≈
£30.19
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
Symphony No. 6 ... The Penobscot River (2004) for chorus and orchestra
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Symphony No. 6 ... The Penobsc
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Scor...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869295 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 149 pages. Thomas Oboe Lee #431379. Published by Thomas Oboe Lee (A0.869295). Instrumentation: 3222-4231-timp-2perc-hp-chorus-strings Program note:It has been a wonderful two years of thinking, learning and working on my Continental Harmony Project with the Bangor Symphony Orchestra. It is a rare occasion that a composer in the 21st century would receive a commission to write a musical work of such scale: a 40-minute piece for symphony orchestra, 200-plus chorus and a ballet company. At the Bangor Public Library I found some wonderful evocative 19th century texts for the chorus about the city of Bangor and its environs: the Penobscot River, Mt. Ktaadn, the logging industry, the native American culture, etc. At times I felt overwhelmed, but most of the times I was exuberant and quite inspired by the music that came forth in the process. The premiere is less than a month away, and I am looking forward to it. Susan Jonason, Executive Director of the Bangor Symphony, has made the occasion a very public one: a free concert on a Saturday evening! I hope the audience will go home humming the tunes from the work as they walk into the crisp, cool Bangor night.Formally the work is in five movements. The first, third and fifth movements are choral, and the two in between are orchestral. In the premiere, the Robinson Ballet will dance in the orchestral movements. The first movement is about the Penobscot River from winter to spring. The melting of the ice is a harbinger of things to come: warmer weather, for instance; but it has also contributed to a lot of flooding in the city of Bangor and its surroundings.The second movement is a waltz, a grand 19th century ballroom waltz for the ladies of the rich lumber barons. They come to the ball showing off their latest hats and gowns from London, Paris and Milan.The third movement is about the woods and the people who work in them. Thoreau’s text about Mt. Ktaadn is full of awesome thoughts about how nature is beautiful, yet unkind to man. It is followed by a J.G. Whittier lyric entitled The Logger’s Boast. The original song had twenty stanzas to it. I whittled it down to five. I don’t know what the original song sounded like, so I made up my own version of a lumberjack’s drinking song.The fourth movement is a wild, drunken polka. After a long week of working in the woods the lumbermen come back to the city and spend all their earnings on booze, women and gambling. And they dance the night away …The last movement begins with a funeral march for Joe Attien, a native American who was Thoreau’s guide when he came up here in the 1900’s. The work ends with a rousing march, a centennial hymn to the city of Bangor. God bless our city Bangor, now! On this its birthday morn …NB: The two ballet movements, II. La Valse and IV. Drunken Polka, are optional.
$9.99 ≈
£7.73
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holid
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Scor...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples … six dreams by Richard Kenney; String Quartet No 5 … Four Birthdays; and Chôrinhos … opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then we’d go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 … Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto … Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 … Roman Holidays, my give back to the city of Rome – a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Bernini’s Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Bernini’s Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99 ≈
£7.73
Missa Solemnis, op. 27 - Score Only
Missa Solemnis, op. 27 - Score Only
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Orchestra
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #86...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00 ≈
£77.41
TE DEUM - Score Only
TE DEUM - Score Only
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Orchestra
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Sacred music
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LORENZO ONDARRA QUINTANA
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TE DEUM - Score Only
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OE OFICINA
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #71...
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Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #714754. Published by OE OFICINA (A0.1112762). Para 4 voces mixtas y orquesta sinfónica - I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$24.99 ≈
£19.34
TE DEUM Reducción para piano y 4 voces mixtas - Score Only
TE DEUM Reducción para piano y 4 voces mixtas - Score Only
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Orchestra
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Sacred music
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LORENZO ONDARRA QUINTANA
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TE DEUM Reducción para piano
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OE OFICINA
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #71...
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Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #714716. Published by OE OFICINA (A0.1112703). Para 4 voces mixtas y orquesta sinfónica - REDUCCIÓN A 4 voces mixtas y piano In I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$14.90 ≈
£11.53
Mozartina
Mozartina
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Orchestra
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ADVANCED
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Otoniel Rojas
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Mozartina
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Otoniel Rojas
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts. 119 pages. Otoniel Rojas #891863. Published by Otoniel Rojas (A0.1302257). Based on a traditional Merengue tune from Dominican Republic in a Rondó style a'la Mozart, combining Mozart's Jupiter symphony 35th 4-note theme.Originally commissioned by the 'Fundación Filarmónica del Cibao' in  1997. Mozartina is an effervescent overture that paints us a contemporary Mozart, exposed to the melodic and rhythmic resources of the Caribbean identity, fusing the style and spirit of the famous Austrian with a mixed of the rhythmic and harmonic developments of the last 200 years of musical development. The work is structured as Rondo ,taking as its theme the traditional merengue (a traditional Dominican dance) El jarro 'ta pichao using it as melodic material that integrates into many styles and orchestral techniques. The topic is presented in juxtaposition with the monumental melodic motif of the last movement of the symphony ' Jupiter ' . Sometimes we appreciate it as it is , sometimes in inverted or hidden among contrapuntistic passages in striped and woven into different instrumental colors and harmonic richness coated within countless melodic modulations or put into small pieces. The climax part suddenly surrounds us with the classic merengue, where the 'tambora' (traditional dominican percussion instrument) makes appearance and gives it its soul. Meanwhile, in the background we still can hear the theme of 'Jupiter'. There briefly we can discover a 'perico ripiao' (another traditional Dominican dance)with its typical melisma embodied by the horn, we finally get to a climax that concludes with a short cadenza of 'tambora' and the reitaration of the main merengue theme in unison. The work was commissioned in 1997 for the opening concert of the Philharmonic of Cibao and this time receives his first audition by the National Symphony Orchestra.
$9.99 ≈
£7.73
Aires Nacionales Mexicanos, Op. 558 (Potpourri) - 8-1/2"x11" ORCHESTRAL PARTS ONLY
Aires Nacionales Mexicanos, Op. 558 (Potpourri) - 8-1/2"x11" ORCHESTRAL PARTS ONLY
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Orchestra
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INTERMEDIATE/ADVANCED
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Mexican law and custom
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Miguel Rios Toledano
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Joel Jacklich (ASCAP)
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Aires Nacionales Mexicanos, Op
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Joel Jacklich
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.723069 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Perio...
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Full Orchestra - Level 4 - Digital Download SKU: A0.723069 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Period,World. Score and parts. 230 pages. Joel Jacklich #2075457. Published by Joel Jacklich (A0.723069). ORCHESTRAL PARTS ONLY. (Large format score published separately) Aires Nacionales Mexicanos, Op. 558, is a potpourri by the nineteenth-century Mexican bandmaster and composer Miguel Rios Toledano. It was written sometime during the presidency of Porfirio Diaz (r. 1876-1911) to whom the work was dedicated. The introduction to the twenty-five minute work (which features more than forty traditional regional songs and dances from Mexico) begins with the Himno Nacional in an instrumental version (Chorus, Stanza, Chorus). By Mexican law and custom (although this law is not applicable in the rest of the world where the Himno Nacional is considered in the public domain), in order to perform the Himno Nacional (even in this case as part of a larger orchestral work), permission must be obtained. In the second chapter of the Mexican Law on the National Arms, Flag, and Anthem (Ley sobre el Escudo, la Bandera y los Himnos Nacionales), it states that if the anthem is played outside of Mexico, Article 48 requires that the Secretary of External Relations (SecretarÃa de Relaciones Exteriores), through proper channels, must grant permission for the national anthem to be played and will also ensure that the anthem is performed with dignity and is not sung for commercial purposes. In the spirit of this law, and for good international relations, it is recommended that when performing the entire work, it would be good form to contact the nearest Mexican Consulate to see about obtaining permission. Should permission not be received, a cut has been indicated in the music from the first beat of measure 2 to the second beat of measure 42 to eliminate the Himno Nacional portion from the performance. At the time the work was written, the Himno Nacional was not quite so closely monitored, hence its inclusion in this work and its common accepted performance a century ago. This arrangement for full orchestra was made from an original piano version by Miguel Rios Toldano. The orchestration was made for a concert in celebration of Cinco de Mayo by the Imperial Valley Symphony on May 5, 2012. The parts are in standard letter page format (8-1/2x11) The score (found published separatetely at SheetMusicPlus) is formatted for 11x17 paper.
$65.00 ≈
£50.32
Aires Nacionales Mexicanos, Op. 558 (Potpourri) 11"x17" SCORE ONLY
Aires Nacionales Mexicanos, Op. 558 (Potpourri) 11"x17" SCORE ONLY
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Orchestra
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INTERMEDIATE/ADVANCED
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Mexican law and custom
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Miguel Rios Toledano
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Joel Jacklich (ASCAP)
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Aires Nacionales Mexicanos, Op
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Joel Jacklich
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.723122 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Perio...
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Full Orchestra - Level 4 - Digital Download SKU: A0.723122 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Period,World. Score and parts. 48 pages. Joel Jacklich #2075453. Published by Joel Jacklich (A0.723122). NOTE: Full Score is formatted for 11x17. Aires Nacionales Mexicanos, Op. 558, is a potpourri by the nineteenth-century Mexican bandmaster and composer Miguel Rios Toledano. It was written sometime during the presidency of Porfirio Diaz (r. 1876-1911) to whom the work was dedicated. The introduction to the twenty-five minute work (which features more than forty traditional regional songs and dances from Mexico) begins with the Himno Nacional in an instrumental version (Chorus, Stanza, Chorus). By Mexican law and custom (although this law is not applicable in the rest of the world where the Himno Nacional is considered in the public domain), in order to perform the Himno Nacional (even in this case as part of a larger orchestral work), permission must be obtained. In the second chapter of the Mexican Law on the National Arms, Flag, and Anthem (Ley sobre el Escudo, la Bandera y los Himnos Nacionales), it states that if the anthem is played outside of Mexico, Article 48 requires that the Secretary of External Relations (SecretarÃa de Relaciones Exteriores), through proper channels, must grant permission for the national anthem to be played and will also ensure that the anthem is performed with dignity and is not sung for commercial purposes. In the spirit of this law, and for good international relations, it is recommended that when performing the entire work, it would be good form to contact the nearest Mexican Consulate to see about obtaining permission. Should permission not be received, a cut has been indicated in the music from the first beat of measure 2 to the second beat of measure 42 to eliminate the Himno Nacional portion from the performance. At the time the work was written, the Himno Nacional was not quite so closely monitored, hence its inclusion in this work and its common accepted performance a century ago. This arrangement for full orchestra was made from an original piano version by Miguel Rios Toldano. The orchestration was made for a concert in celebration of Cinco de Mayo by the Imperial Valley Symphony on May 5, 2012. The score is formatted for 11x17 paper. The parts (found separately) are in standard letter page format (8-1/2x11).
$25.00 ≈
£19.35
Lindpaintner - Concertino for clarinet with orchestra in E flat major, Op.41
Lindpaintner - Concertino for clarinet with orchestra in E flat major, Op.41
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Orchestra
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Classical
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Peter Joseph Von Lindpaintner
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Lindpaintner - Concertino for
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1398097 Composed by Peter Joseph Von Lindpaintner. Arranged by J.G. Cucó Barber. 19th Century,Classical,Roma...
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Full Orchestra - Digital Download SKU: A0.1398097 Composed by Peter Joseph Von Lindpaintner. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. 146 pages. J.G. Cuco Barber #981372. Published by J.G. Cuco Barber (A0.1398097). Work Title Clarinet ConcertinoComposer Lindpaintner, Peter Joseph vonOpus/Catalogue Number Op.41Key E flat majorMovements/Sections 1 movement, 3 sections: Adagio â?? Allegro giusto Andantino Allegro First Publication 1824 ca. â?? Mainz: SchottDedication à Monsieur Tausch Fils membre de la chapelle royale de Prusse (Franz Tausch's (1762â??1817) son)Average Duration 16 minutesComposer Time Period RomanticPiece Style RomanticInstrumentation Solo: clarinet (Bâ?)Orchestra: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani and strings.
$45.00 ≈
£34.83
Canongia - Clarinet Concerto No.4 in D minor
Canongia - Clarinet Concerto No.4 in D minor
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Orchestra
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Classical
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José Avelino Canongia
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Canongia - Clarinet Concerto N
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1309878 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic ...
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Full Orchestra - Digital Download SKU: A0.1309878 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. 125 pages. J.G. Cuco Barber #899024. Published by J.G. Cuco Barber (A0.1309878). Work Title Clarinet Concerto No.4 in D minorComposer Canongia, José AvelinoKey D minorMovements/Sections 3 movements: Allegro agitato Adagio Allegro Dedication à S. M. I. la Duchesse de BraganeComposer Time Period RomanticPiece Style RomanticInstrumentation clarinet, orchestraInstrDetail2 flutes, 2 oboes, 2 clarinets, 2 bassoons2 horns, 2 trumpets, trombonetimpani, strings.
$45.00 ≈
£34.83
Canongia - Clarinet Concerto No.2 in B flat major
Canongia - Clarinet Concerto No.2 in B flat major
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Orchestra
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Classical
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José Avelino Canongia
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J
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Canongia - Clarinet Concerto N
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J.G. Cuco Barber
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1302485 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic ...
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Full Orchestra - Digital Download SKU: A0.1302485 Composed by José Avelino Canongia. Arranged by J.G. Cucó Barber. 19th Century,Classical,Romantic Period. Score and Parts. 153 pages. J.G. Cuco Barber #892105. Published by J.G. Cuco Barber (A0.1302485). Work Title Clarinet Concerto No.2 in B flat majorAlternative Title Deuxieme Concerto pour la Clarinette Avec OrchestreComposer Canongia, José AvelinoKey B flat majorMovements/Sections 3 movements: Allegro maestoso Andantino sostenuto Allegro vivace Dedication Pierre 1er. Empereur du Bresil et Roi de PortugalAverage Duration 18 minutesComposer Time Period RomanticPiece Style RomanticInstrumentation clarinet, orchestraInstrDetail 2 flutes, 2 oboes, 2 clarinets, 2 bassoons2 horns, 2 trumpets, bass trombone, timpani, strings.
$45.00 ≈
£34.83
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