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Full Orchestra - Digital Download

SKU: A0.746748

Composed by Keith Terrett. Contemporary,World. 33 pages. Keith Terrett #3129265. Published by Keith Terrett (A0.746748).

ere at last is my ’’Elegy sentimentale’’ for orchestra, and my first original composition (opus 1), for full symphony orchestra.

I hope it makes an excellent piece for amateur and professional orchestras alike; with some challenging and interesting string, woodwind and brass writing for all.

I envisage the ’’Elegy’’ eventually making a good piece of film music, and in consequence any directors or producers looking for a movie theme; please feel free to contact me!

Elegy Sentimenatle is a mournful & melancholic work, suited for performances on the concert platform.

A Supreme Work of Art!

The Elegy Sentimentale opens impressively. Keith Terrett plants a C deep in virgin soil; orchestrated brilliantly for bassoon, harp and delineated by pizzicato double basses this bass line is a tree of a forest; and we are at once held by the strength of the roots. The tonality is immediately clear, and there is a grand feeling of space and power in the wide layout of the score. A lone solo clarinet high in the tessitura accompanied by a solo cello with a counter subject state the opening eight bar theme which embodies the seeds of two ideas, which supplies the generating force for the slightly agitated Piu Mosso which follows. The counter subject given by the solo cello at the beginning is now reiterated by the plaintive voice of a solo oboe and a third motif makes an appearance in the solo clarinet; oboe and clarinet duet beautifully over arpeggiated rhythmic impulses in the harp. A new subject of an accompanying nature, derived from all the material thus far presented now comes off at a tangent on the strings cascading downwards and accompanying woodwind who, play the chief melodic subject while horns cry in anguish. This first section is then repeated; I found the whole experience spiritual, detached and wondering, intensified by the breath-taking stillness. Mr Terrett in the middle section that follows now uses his full orchestral forces; after a key change the emotional charge that follows is cataclysmic in its cry of anguish; the main theme is stated in a full dress orchestral tutti, which is then repeated. The music ebbs and flows with slight variations in the woodwind recalling the main ideas; at the very end high strings bring consolation and finally peace. Keith Terrett shows an admirable command of orchestration and melodic construction and combines these qualities with rare imagination and insight.

Gerald Manning

Elegy Sentimentale for Orchestra
Orchestre

$30.00 28.39 € Orchestre PDF SheetMusicPlus

Full Orchestra - Level 4 - Digital Download

SKU: A0.1370381

Composed by Claude Debussy. Arranged by Ben Trigg. 19th Century,Romantic Period. 221 pages. OlivePress Music #954757. Published by OlivePress Music (A0.1370381).

From Debussyâ??s Préludes, Book I:

I: The Wind Over The Plains
II: The Girl With The Flaxen Hair
III: Puckâ??s Dance
IV: The Sunken Cathedral

Debussyâ??s piano music is filled with colour, texture, vibrancy, sonority. To play it is to be taken inside a sound world greater than the instrument itself. In other words, it seems to demand orchestration. Whether the fanfare call of Puckâ??s Dance, the sotto voce flurries evoking The Wind Over The Plains, or the deepest and highest reaches of the musical spectrum explored in the under-water world of The Sunken Cathedral, Debussyâ??s music seems to drop hints at obvious orchestral manoeuvres. His great skill, of course, was condensing these musical ideas to the piano. But the fruit is there fo the taking, and indeed other orchestrations exist of the complete suite of piano preludes â?? Books I and II. So, why another?

This particular suite cherry-picks some of my own favourite movements from the suite, and arranges them in a â??symphonicâ?? structure to present an opening, expository movement (The Wind Over The Plains), a romantic Adagio (The Girl With The Flaxen Hair), a sprightly â??scherzoâ?? (Puckâ??s Dance), concluding with an epic finale (The Sunken Cathedral). This condensed suite may make the music more approachable for some orchestras, and offers something shorter to concert programmes wishing to feature other major works alongside, instead of performing all 24 preludes.

I hope you enjoy performing this suite as much as I enjoyed arranging it.

Instrumentation:

  • Piccolo
  • 2 Flutes
  • 2 Oboes
  • Cor Anglais
  • 2 Clarinets in Bâ?­
  • Bass Clarinet in Bâ?­
  • 2 Bassoons
  • Contrabassoon
  • 4 Horns in F
  • 3 Trumpets in Bâ?­
  • 2 Trombones
  • Bass Trombone
  • Tuba
  • Timpani
  • Percussion (3/4 players):
    • Triangle, Crash Cymbals, Suspended Cymbal, Bass Drum, Tam-Tam, Glockenspiel, Tubular Bells
  • Celesta
  • Harp
  • Violin 1 (divisi à 4)
  • Violin 2 (divisi à 4)
  • Viola (divisi à 4)
  • Violoncello (divisi à 4)
  • Contrabass (B extension where possible) (divisi à 4)

Four Impressions on Debussy (4 Piano Preludes arranged for Full Orchestra) ? Score and Parts
Orchestre

$99.99 94.62 € Orchestre PDF SheetMusicPlus

Full Orchestra - Level 2 - Digital Download

SKU: A0.1224099

Composed by Juan María Solare. 19th Century,20th Century,21st Century,Classical,Instructional. Score and Parts. 20 pages. Juan Maria Solare #820190. Published by Juan Maria Solare (A0.1224099).

Orchestraining is a cycle of orchestral studies, each of which focuses on different aspects of performance. These studies are specifically designed for non-professional orchestras, although any orchestra will improve by playing some of these pieces during rehearsals. It is always necessary to pay attention to intonation and many other aspects of orchestral performance.

In addition, these studies are also useful for orchestral conducting students. For example, it is essential to know how to conduct a simultaneous attack of a chord that does not begin on the first beat, but a eighth note after the third beat.

I began writing these studies around 2013, when I took over the direction of the Bremer Orchestergemeinschaft and noticed the complete absence of repertoire of this kind. As a pianist, I am accustomed to studies by Carl Czerny or playing scales. Each individual instrumentalist knows studies of technique for their instrument. However, there are no, or at least I am not aware of, similar studies for orchestral performance technique and the specific difficulties of ensemble playing that it requires. The cycle Orchestraining aims to fill this gap.

The particular study Orchestraining Nr. 01 focuses on the subject of simultaneous attacks, presenting a series of staccato chords in different parts of the bar. The piece will be played twice, with different dynamics and (partly) different performing techniques (particularly in the strings: pizzicato vs. arco).

Orchestraining No. 01 - simultaneous attacks

*

Orchestraining es un ciclo de estudios orquestales, cada uno de los cuales tematiza diferentes aspectos de la ejecución. Estos estudios están concebidos específicamente para orquestas no profesionales; sin embargo, cualquier orquesta mejorará si toca alguna de estas piezas durante los ensayos. Siempre es necesario cuidar la afinación y muchos otros aspectos de la ejecución orquestal.

Adicionalmente, estos estudios son también útiles para estudiantes de dirección orquestal. Por ejemplo, es imprescindible saber cómo dirigir un ataque simultáneo de un acorde que no comienza en el uno, sino una corchea después del tercer tiempo.

Comencé a escribir estos estudios hacia 2013, cuando asumí la dirección de la Bremer Orchestergemeinschaft y noté la ausencia total de repertorio de este tipo. Como pianista estoy acostumbrado a los estudios de Carl Czerny o a tocar escalas. Cada instrumentista, individualmente, conoce sobradamente estudios de técnica para su instrumento. Sin embargo no existen, o no conozco, estudios similares para la técnica de ejecución orquestal y las dificultades específicas de ensamblaje que ésta requiere. El ciclo Orchestraining intenta cubrir esta laguna.

El estudio Orchestraining Nr. 01 en particular trata el tema de los ataques simultáneos, presentando una serie de acordes staccato en distintas partes del compás. La obra se tocará dos veces, con distintas dinámicas y (en parte) con distintas técnicas de ejecución (particularmente en las cuerdas: pizzicato vs. arco).

Orchestraining No. 01 [Orchestra] Orchestre

$5.00 4.73 € Orchestre PDF SheetMusicPlus






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