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5 sheet music found
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1
Concerto for Trumpet and Orchestra (2014)
Concerto for Trumpet and Orchestra (2014)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Concerto for Trumpet and Orche
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869350 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Scor...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869350 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 82 pages. Thomas Oboe Lee #14827. Published by Thomas Oboe Lee (A0.869350). Instrumentation: trumpet solo and 2222-4231-timp-2perc-strings. Over the years I have written at least ten orchestral works for Max Hobart including three symphonies and four concertos for saxophone, violin, oboe and cello, respectively. So I was thrilled when Max asked me to write a concerto for trumpet virtuoso Stephen Burns and the Boston Civic Symphony Orchestra. I am familiar with Stephen Burns’ work as a piccolo trumpet player doing concertos from the baroque period. The color of his sound was already in my head. Stephen and I got together in the spring of 2104 and we discussed the project in some detail. We immediately agreed that the work would be in three movements. Each movement would feature a different trumpet: the trumpet in C for the first, the flugelhorn for the second and the piccolo for the last. I began work on the concerto at the end of August and finished it three months later. The work as mentioned earlier is in three movements: 1. Heraldic Beast … Allegro. 2. Bossa Nova in 7/4 … Adagio. 3. Perpetuo Moto … Presto! Enjoy!!!
$9.99 ≈
¥70.77
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score a...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355). Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99 ≈
¥70.77
Divinum Mysterium
Divinum Mysterium
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Orchestra
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INTERMEDIATE/ADVANCED
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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 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporar...
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Full Orchestra - Level 4 - Digital Download 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 ≈
¥531.28
Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Clarinet Concerto ... Sounds o
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 pages. Thomas Oboe Lee #29655. Published by Thomas Oboe Lee (A0.869365). Instrumentation: 2222-4321-2perc-pf-strings. When Andrea Bates, executive director of the Brockton Symphony Orchestra, first told me that the Brockton Symphony had commissioned me to write a new work to be premiered in 2003-2004, I immediately thought that since its music director, Jonathan Cohler, is a marvelous clarinetist I would be most attracted to the idea of writing a clarinet concerto for the occasion. Both Andrea and Jonathan were very receptive and enthusiastic about my idea. Andrea also told me that the commissioned work should somehow bring to attention the diverse cultures of the recent immigrants that have settled in the city of Brockton. So in the spring of 2003 I came down to Brockton for a meeting to which Andrea had invited representative members of these new communities. Three showed up: Maria Evora-Rosa, Rick Marrero and Fred Fontaine. Andrea had asked them to bring recordings of the music from their countries for me to listen to. There were CDs of very exciting and fun music from Cape Verde, Puerto Rico, Cuba, the Dominican Republic and Haiti. After spending months listening to the music from these countries, all of them islands in the Atlantic or the Caribbean, I slowly began to get a sense of the beauty and the magic of the musical style and language of each place, each individual island. The end result is a three-movement work for clarinet and orchestra. Unlike the traditional Concerto form which is Fast-Slow-Fast, this work begins with something slow. A fast number follows as a second movement; and then, after a short, slow interlude, another fast number appears. The first movement is my adaptation of the morna of Cape Verde – slow, melancholy and sad. The diva of the morna is Cesaria Evora. Her singing brings to mind a fusion between the African blues and the Portuguese fado. The second movement is my take on the merengue as performed by the inimitable Xavier Cugat. It is dance music through and through!!! The third movement is also a dance number: the ever-popular music from Haiti, the reggae. And in order to give some contrast between the two dance numbers, I added a slow chorale for clarinet and strings that serves as a prelude before the dancing begins in the final movement. I envision the chorale as a little church music before the people go out and dance the night away. Throughout the entire work, the solo clarinet is the principal voice … singing, dancing, and cavorting!!! Gotta dance!!! Have fun and enjoy the music!!! I surely did as I was working on it ….
$9.99 ≈
¥70.77
Innerspace
Innerspace
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Orchestra
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INTERMEDIATE/ADVANCED
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Film/TV
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Mikael Carlsson
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Innerspace
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Carlssons Kluster
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download Composed by Mikael Carlsson. 21st Century, Neo-Classical, Movies. Score, Set of Parts. 136 ...
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Full Orchestra - Advanced Intermediate - Digital Download Composed by Mikael Carlsson. 21st Century, Neo-Classical, Movies. Score, Set of Parts. 136 pages. Published by Carlssons Kluster
A large orchestral piece, inspired by the classic film music of science fiction cinema, perfect for cross-over, pops programs. A symphonic love letter to science fiction!
Anyone familiar with the 1980s sci-fi cinema boosted by the success of Steven Spielberg should note the obvious reference in the title of this piece. The 1987 sci-fi adventure, directed by Joe Dante and produced by Spielberg, was one of my favourite movies as a teenager.
When the enthusiastic Gothia Concentus commissioned me to write Innerspace, the task was to write a stand-alone concert work that would serve as companion piece to an impressive set list of well-known genre works primarily from the world of film, but also video games. Since all of the other pieces were written for sci-fi adventures taking place in outer space, I wanted to go in the other direction - inwards.
My piece and its storyline is inspired by that of Joe Dante’s movie, and of course, even more so by the ingenious 1960s sci-fi gem Fantastic Voyage. I would not say, though, that the music itself is particularly inspired by the scores written for these films (by Jerry Goldsmith and Leonard Rosenman) - it’s more of a love letter to all of the great sci-fi music written in the past century.
Innerspace is in large doses based on an octatonic scale which I developed based on a chord progression that has been in my head since I was a teenager, just waiting for the righ opportunity to “come out”. The piece makes a condensed journey from the stark and alarming opening, through atmospheric passages which are almost bitonal in character, via stirring action and heroic scherzo motifs to a triumphant finale.
It is my intention that this piece should be entertaining, fun and exciting for the post-modern symphony audience, as well as a lot of fun for the players and conductor who share my love for the great sci-fi movies!
Duration: ca 7:30
Instrumentation: 3(1.2.pic)3(1.2.eh)3(1.2.bcl)3(1.2.cbn) - 6652(1opt) - timp.3perc - hp.pno - str.
Mikael Carlsson
January 2019
$149.99 ≈
¥1062.48
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