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15 sheet music found
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1
Heather Sorenson: He Shall Reign Forevermore (with "Angels We Have Heard on High") - orchestra/band (keyboard string reduction)
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Orchestra
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INTERMEDIATE
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Christian contemporary
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Heather Sorenson
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Virtualsheetmusic
Instantly printable sheet music by Heather Sorenson for orchestra/band (keyboard string reduction) of MEDIUM skill level. / christian,christmas,holiday,carol,winter,advent,praise & worship,festival...
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Instantly printable sheet music by Heather Sorenson for orchestra/band (keyboard string reduction) of MEDIUM skill level. / christian,christmas,holiday,carol,winter,advent,praise & worship,festival
$11.99 ≈
10.82€
Celtiberian Landscape For Harp And Orquestra
Celtiberian Landscape For Harp And Orquestra
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Orchestra
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EASY
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Luis Anjos Teixeira
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Celtiberian Landscape For Harp
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Luis Anjos Teixeira
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SheetMusicPlus
Full Orchestra - Level 2 - Digital Download SKU: A0.889427 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 74 pages. Lu...
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Full Orchestra - Level 2 - Digital Download SKU: A0.889427 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 74 pages. Luis Anjos Teixeira #4725435. Published by Luis Anjos Teixeira (A0.889427). „Celtiberian Landscape For Harp, Choir and Symphonic Orchestra All the woodwind solo parts and the Horn can be doubled. The chamber option for a minimum number of soloists would be, 1 Flute 1 Oboe 1 English Horn 1 Eb Clarinet 1 Bb Clarinet 1 Fagotte 1 Kontra Fagotte 1 F Horn 2 C Trumpet 2 Trombone 2 Tuba Timbale Bells, „Glockenspiel or Piano Percussion: gong, bass drum, snare, splash, triangle. Harp Celesta or Piano Violin I Violin II Viola Cello DoubleBass DoubleBass Solo Soprano Alto Tenor Bass In this PDF file, for each voice in the score there is an individual part ready to print. Included in this file is also the full score for the choir with individual parts. There is no text to be sung, so in the sense of a vocalizo „oh and „ah can be used „ad lieb by the singers. For the bells there is an extra optional score that could be eventually used by a keyboard instrument. The percussion could be performed by 3 or 4 musicians. It consists of a set of cymbals „G, A and C, a splash or crash, an open triangle, a snare drum, One or 2 Gongs and a bass drum. For each voice in the ensemble score there is an individual part ready to print and an optional standard one. The parts are very easy to perform. The piece is can easily be adjusted to different situations. It is perfect for school ensembles and mixed groups of beginner students and advanced ones. A little story about this piece In my early teens I dreamed in my sleep that I met a very nice gentleman, in a beautiful garden. At the time I did not now that the man in my dream was my „genetic Grandpa himself, I had never seen a picture from him, only many years later after this dream. Now back to the Dream. Grandpa toke me from the garden to a House full of sculptures and art work. There was also a room with 3 great pianos, sat to perform on 3 different stages. Family life size portraits where hanging on a corridor. Another room was full of swords and ancient family weapons. In the end of the dream a dangerous Entity approached the house, Grandpa disappears and I had to leave the place in a hurry without being noticed. I climbed up the house and went hiding on the celling. I could than see a middle aged, middle-Lower class lady coming in the House, she was very stiff, all dressed in black like a widow. It was a very weary feeling, I woke up to never forget this dream. About 20 years later I was in that garden. It was really abandoned and I spend much of my time hanging there, I wrote a lot of music in this garden. I knew about The owner of this garden, he was living not so far away from me. Curious I decided to visit him. He leaved in the house that I dreamed of and he was actually my Father but I did not know that he was my Father and either did he knew about me being his son. He died shortly after we met. His name was Pedro Augusto Franco Dos Anjos Teixeira and my Grandpa was Artur Gaspar Dos Anjos Teixeira. Thanks to Claudia Eppelt for the all the Love and cover design. Special Thanks to Grandpa, Nina and Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. For all Living beings on Earth, for all our Ancestors, Thank You for all of You All Your Love and Compassion. Love Forever. Disclaimer: The score was written on Finale and the sound file was p.
$24.99 ≈
22.55€
A New Heart for Christmas - Orchestration
A New Heart for Christmas - Orchestration
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Orchestra
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Christmas
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the end of this moving and emo
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Kenn Mann
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Steve W Mauldin
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A New Heart for Christmas - Or
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Radiant Music
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: LX.30-1530RA Composed by Kenn Mann. Arranged by Steve W Mauldin. Choral Cantatas. Christmas. Score and parts. 832 ...
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Full Orchestra - Digital Download SKU: LX.30-1530RA Composed by Kenn Mann. Arranged by Steve W Mauldin. Choral Cantatas. Christmas. Score and parts. 832 pages. Radiant Music #e30/1530RA. Published by Radiant Music (LX.30-1530RA). A young boy in a hospital room waits... worried, troubled. Is he high enough on the list?ö Will he qualify for a new heart before his old one gives out? He wonders if he will live or die. It's Christmas time, and he asks not for toys or gifts, but for a new heart. By the end of this moving and emotional drama for choir, soloists, and orchestra, the boy has discovered th Flute, Oboe, Clarinet, Horn in F 1 and 2, Violin 1 and 2, Viola, Violoncello, Double Bass. Rhythm (Piano, Electric Bass, Guitar, Drums), Bass Trombone/Tuba, Percussion, Timpani, Harp, Includes a Conductor's Score and Parts for; Trumpet 1, 2 and 3, Trombone 1 and 2, Optional Instrumental Parts Included; Eb Alto Saxophone 1 and 2 (doubles Horn in F 1&2) BbTenor Saxophone (doubles Trombone 1) Bb Treble Clef Baritone (doubles Trombone 2) Bb Clarinet (doubles Viola) Bb Bass Clarinet (doubles Violoncello) Bassoon (doubles Violoncello) Keyboard String Reduction (doubles Violins, Viola, Violoncello and Double Bass).
$349.95 ≈
315.81€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.56€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00 ≈
22.56€
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
22.56€
Mr. Lucky
Mr. Lucky
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Orchestra
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INTERMEDIATE/ADVANCED
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Henry Mancini
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Robert C
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Mr. Lucky
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Robert C. Olivia
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.920763 Composed by Henry Mancini. Arranged by Robert C. Olivia. Film/TV,Jazz,Pop. Score and parts. 81...
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Full Orchestra - Level 4 - Digital Download SKU: A0.920763 Composed by Henry Mancini. Arranged by Robert C. Olivia. Film/TV,Jazz,Pop. Score and parts. 81 pages. Robert C. Olivia #526643. Published by Robert C. Olivia (A0.920763). This arrangement was made at the request of Marvin Hamlisch. The Seattle Times Reviewer Tom Keogh wrote about this arrangement, “A highlight is certainly the silky grandeur of Henry Mancini’s theme for Blake Edwards’ TV series “Mr. Luckyâ€â€¦â€ This arrangement draws inspiration from the record version with an insert Mancini wrote later. The Hammond B3 organ solo as played by the great Hollywood session musician Buddy Cole is transcribed note for note in this arrangement. This part can be alternately played by Rhodes or other keyboard. The written out solo is a suggestion and may be improvised by keyboard player. Throughout this arrangement Mancini’s voicings and orchestrational content have been preserved. Options It is possible to perform this without Hammond B3 or like keyboard solo. In one version in Mancini’s hand writing he called for a Flugal Horn solo. This could be used to replace the keyboard solo. However, a cut can also be made in lieu of solos from B to Bar 50 or D. Instrumentation 2 Flutes, 2 Oboes, 2 Clarinets, 1 opt Bass Clarinet, 2 Bassoons, 4 Horns, 3 Trumpets (includes optional Lead Trumpet solo) 3 Trombones, 1 Tuba, 1 Percussion: Tambourine ad-lib, 1 Drum Set (optional solo), 1 Fender Bass, 1 Keyboard (preferably Hammond B3 with Leslie or Synth or Rhodes) (solo is optional), Strings.
$200.00 ≈
180.49€
Concerto n° 1 for cembalo [fortepiano] and orchestra in C major - Score Only
Concerto n° 1 for cembalo [fortepiano] and orchestra in C major - Score Only
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Orchestra
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INTERMEDIATE
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Opera
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Classical
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Johann Simon Mayr
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Fabrizio Capitanio & Michele G
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Concerto n° 1 for cembalo [fo
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1317490 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio & Michele Galvagno. 19th Centur...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1317490 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio & Michele Galvagno. 19th Century,Instructional,Opera,Romantic Period. 110 pages. Artistic Score Engraving di Galvagno Michele #906154. Published by Artistic Score Engraving di Galvagno Michele (A0.1317490). Johann Simon Mayr (1763—1845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti’s style. He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as “Lezioni Caritatevoli di Musicaâ€. One of the first pupils of the “Lezioni†was Gaetano Donizetti, whose production and fame soon arose above everyone else’s. The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr’s manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces. In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).This edition comes with the unique contribution of M° Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible.A reduction for two pianos is available under Catalogue N° ASE 0051, while orchestral parts can be found as a bundle under Catalogue N° ASE 0053.This edition is also the first one in the new series dedicated to the City of Bergamo: La Bergamasque!
$45.00 ≈
40.61€
Flower Through The Storm
Flower Through The Storm
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Orchestra
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ADVANCED
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Alex Haynes
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Flower Through The Storm
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Alex Haynes
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SheetMusicPlus
Orchestra Cello,Double Bass,Drum Set,Flute,Percussion,Piano and Keyboard,Viola - Level 5 - Interactive Download SKU: A0.518421 By Alex Haynes. By Alex Ha...
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Orchestra Cello,Double Bass,Drum Set,Flute,Percussion,Piano and Keyboard,Viola - Level 5 - Interactive Download SKU: A0.518421 By Alex Haynes. By Alex Haynes. This edition: Interactive Download. Classical,Musical/Show,World. Score and parts. 90 pages. Duration 357. Alex Haynes #4ZXqfVuUkODgnOVbtDq9ac. Published by Alex Haynes (A0.518421). Key: A major.My dad gave me a huge inspiration for this piece. He said, Imagine a big room with a big screen. Imagine a lone flower on the screen, slumped over from the night. It rises with the sun, growing big and tall. Imagine a storm rushing in, trying to destroy the flower. Imagine the struggle and hardship the flower endures during the storm. The storm goes away. The sun comes out. The flower wakes back up. It starts getting dark. The flower slumps back over. The flower falls asleep. I used his imagery and the music that was already in me to make this piece.
$100.00 ≈
90.24€
VIAMALA - Volume 18
VIAMALA - Volume 18
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Orchestra
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Contemporary
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Carter Larsen
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VIAMALA - Volume 18
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Edition Isolde
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1019615 Composed by Carter Larsen. Contemporary. Score and parts. 1 pages. Edition Isolde #6458071. Published b...
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Full Orchestra - Digital Download SKU: A0.1019615 Composed by Carter Larsen. Contemporary. Score and parts. 1 pages. Edition Isolde #6458071. Published by Edition Isolde (A0.1019615). This first edition for Orchestra is a 12 Volumes work, approximately 15 hours of music, inter-related thematically; introduced in Edition Isolde, Volumes XV to XXVI. They are intended to be performed as independent pieces or as Volumes or in groups of Volumes.The Orchestra work was conceived in the spirit of fantasy. During the creative process, the work became a combination of influences from Carter Larsen life, he has consciously broken the formalized barriers of conventional Concerto and Instrumental versus Symphony with free use of Solos especially from the piano and keyboard instruments.
$98.50 ≈
88.89€
PARSCHADA - Volume 17
PARSCHADA - Volume 17
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Orchestra
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Contemporary
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Carter Larsen
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PARSCHADA - Volume 17
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Edition Isolde
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1019614 Composed by Carter Larsen. Contemporary. Score and parts. 1 pages. Edition Isolde #6458069. Published b...
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Full Orchestra - Digital Download SKU: A0.1019614 Composed by Carter Larsen. Contemporary. Score and parts. 1 pages. Edition Isolde #6458069. Published by Edition Isolde (A0.1019614). This first edition for Orchestra is a 12 Volumes work, approximately 15 hours of music, inter-related thematically; introduced in Edition Isolde, Volumes XV to XXVI. They are intended to be performed as independent pieces or as Volumes or in groups of Volumes.The Orchestra work was conceived in the spirit of fantasy. During the creative process, the work became a combination of influences from Carter Larsen life, he has consciously broken the formalized barriers of conventional Concerto and Instrumental versus Symphony with free use of Solos especially from the piano and keyboard instruments.
$98.50 ≈
88.89€
REISCHEN - Volume 16
REISCHEN - Volume 16
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Orchestra
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Contemporary
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Carter Larsen
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REISCHEN - Volume 16
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Edition Isolde
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1019612 Composed by Carter Larsen. Contemporary. Score and parts. 1 pages. Edition Isolde #6458059. Published b...
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Full Orchestra - Digital Download SKU: A0.1019612 Composed by Carter Larsen. Contemporary. Score and parts. 1 pages. Edition Isolde #6458059. Published by Edition Isolde (A0.1019612). This first edition for Orchestra is a 12 Volumes work, approximately 15 hours of music, inter-related thematically; introduced in Edition Isolde, Volumes XV to XXVI. They are intended to be performed as independent pieces or as Volumes or in groups of Volumes.The Orchestra work was conceived in the spirit of fantasy. During the creative process, the work became a combination of influences from Carter Larsen life, he has consciously broken the formalized barriers of conventional Concerto and Instrumental versus Symphony with free use of Solos especially from the piano and keyboard instruments.
$98.50 ≈
88.89€
FAROS - Volume 15
FAROS - Volume 15
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Orchestra
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Contemporary
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Carter Larsen
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FAROS - Volume 15
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Edition Isolde
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1019613 Composed by Carter Larsen. 20th Century. Score and parts. 1 pages. Edition Isolde #6458045. Published b...
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Full Orchestra - Digital Download SKU: A0.1019613 Composed by Carter Larsen. 20th Century. Score and parts. 1 pages. Edition Isolde #6458045. Published by Edition Isolde (A0.1019613). This first edition for Orchestra is a 12 Volumes work, approximately 15 hours of music, inter-related thematically; introduced in Edition Isolde, Volumes XV to XXVI. They are intended to be performed as independent pieces or as Volumes or in groups of Volumes.The Orchestra work was conceived in the spirit of fantasy. During the creative process, the work became a combination of influences from Carter Larsen life, he has consciously broken the formalized barriers of conventional Concerto and Instrumental versus Symphony with free use of Solos especially from the piano and keyboard instruments.
$98.50 ≈
88.89€
007 - From the 1963 motion picture 'FROM RUSSIA WITH LOVE'
007 - From the 1963 motion picture 'FROM RUSSIA WITH LOVE'
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Orchestra
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INTERMEDIATE/ADVANCED
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Film/TV
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John Barry
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Gregory John Harper
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007 - From the 1963 motion pic
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Gregory Harper
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SheetMusicPlus
Full Orchestra - Advanced Intermediate - Digital Download By John Barry. Arranged by Gregory John Harper. Score, Set of Parts. 56 pages. Published by...
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Full Orchestra - Advanced Intermediate - Digital Download By John Barry. Arranged by Gregory John Harper. Score, Set of Parts. 56 pages. Published by Gregory Harper
Programme notes: Although John Barry had written 50% of the original 'James Bond' theme for 1962's Dr. No (and orchestrated the whole thing), he felt the need to create a new piecefor 007's second on-screen outing that was entirely his own. Using Elmer Bernstein's'Magnificent Seven' theme as inspiration, he crafted a tune that was full of adventure and awe. Although the '007' theme presented here was not adopted by the cinema-goers as the definitive Bond music, it demonstrates Barry's ability to orchestrate and compose in the style of the classic 40s & 50s Hollywood pictures. The theme has been used in several Bondmovies since - mainly as a secondary theme for scenes that wish to depict Bond's heroism more than his swagger and charisma.
Conductor's Notes: When the strings take the melody at 'D', they should 'soar'! While the piece lacks melodic or harmonic development, it does show off each section of the orchestra.Make sure all dynamic markings are strictly adhered to as the melody may get overpowered otherwise. The lead trumpet part is a transcription of Derek Watkins' original performance and is very high in places. In the event of having no harpist, the glissandos may be played on a transposed electronic keyboard so thatthe white notes are tuned to a E Major scale (transpose up a major 3rd). The rest of the harp part should be played on a non-transposed keyboard. The piece should fade out to nothing so make sure all eyes areon the conductor as they will need to guide each player through the dynamic changes from 'G' onwards.
$69.99 ≈
63.16€
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