(Orchestra) - Digital Download

SKU: H1.C5239ODP

Composed by Thomas Fettke. Piano Accompaniment with Optional Orchestra. General Worship, God's Attributes/Character, Adoration & Praise. Set of Instrumental Parts. 71 pages. Hope Publishing - Digital #C5239ODP. Published by Hope Publishing - Digital (H1.C5239ODP).

Timothy Dudley-Smith. Exodus:15:6 - Exodus:15:11 - Psalms 8:1 - Psalms 8:9 - Psalms 93:1 - Psalms 96:6 - Psalms 104:1 - Psalms 110:3 - Psalms 111:3 - Psalms 145:5 - Isaiah 2:10 - Isaiah 2:19 - Isaiah 2:21 - Isaiah 35:10 - Hebrews 1:3 - Hebrews 8:1 - 2 Pet.

Original anthem
Tom Fettke has compoased dramatic new music for Timothy Dudley-Smith's popular hymn text of adoration. The grandiose orchestral track, from Camp Kirkland, provides sweep and drama, whereas performance with just piano, transforms this traditional hymn text into a flowing praise and worship-like chorus.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1117354

By Various. By James Horner. Arranged by Henry George Page. Children,Film/TV. Score and parts. 59 pages. Royal Northern College of Music #718917. Published by Royal Northern College of Music (A0.1117354).

An arrangement commissioned by the Royal Northern College of Music. This arrangement is for full symphony orchestra and is ideal for children's programmes.

Large Ensemble,Strings Bass Guitar, Choir, Electric Guitar, Piano, Synthesizer, Timpani - Digital Download By Muse. By Matthew Bellamy. Arranged by The Fluffy Hat Music Co. Classical, Pop, Rock. Score and parts. 34 pages. Published by The Fluffy Hat Music Co.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1197793

By Caetano Veloso e Maria Betania. By Romario Araujo. Arranged by Romário Araújo. Multicultural,World. Score and parts. 9 pages. Romário Araújo #796970. Published by Romário Araújo (A0.1197793).

Arranjo para banda, instrumentos: Clarinete, Flauta, Sax Alto, Sax Tenor, Sax Baritono, Trumpet, Trombone, Bombardino,Tuba, Baixo Eletrico, Base, Bateria, Bumbo, Caixa, Prato.

By Muse. By Matthew Bellamy. Arranged by The Fluffy Hat Music Co. Classical, Pop, Rock. Score and parts. 31 pages. Published by The Fluffy Hat Music Co.

Full Orchestra - Level 5 - Digital Download

SKU: A0.1030571

Composed by Hans Zimmer, Lebo M, and Mark Mancina. Arranged by Brian Strohmetz. Broadway,Film/TV,Multicultural,Musical/Show,World. Score and parts. 71 pages. Brian Strohmetz #633740. Published by Brian Strohmetz (A0.1030571).

For Orchestra, Solo Vocalist and Choir Shadowland is a song written by Lebo M., Hans Zimmer and Mark Mancina for the musical The Lion King (1997), a stage adaptation of Disney's 1994 animated film of the same name. Based on the song Lea Halalela (Holy Land), a track featured on Lebo's Lion King-inspired concept album Rhythm of the Pride Lands (1995), Lebo composed the track with Zimmer, while both Lebo and Mancina contributed new lyrics to its melody. Lebo based the song's lyrics on his own experiences having been exiled from South Africa during apartheid, therefore imbuing Shadowland with themes about refugeeism and survival. Originally performed by Trinidadian-American singer and actress Heather Headley as Nala, and South African actress Tsidii Le Loka as Rafiki, roles both performers originated on stage, Shadowland narrates Nala's decision to leave the Pride Lands in search of a more habitable environment upon realizing that her homeland has grown dry and barren in the midst of Scar's reign. Taking place shortly after Nala rejects Scar's romantic advances, director Julie Taymor used the song to develop Nala into a stronger character for the stage adaptation, and identified Shadowland as her favorite among the production's original songs, believing its message and themes to be universal. Musically, Shadowland is a soul power ballad. Sung in both English and African languages, its instrumentation combines African percussion with European orchestration to create a more exotic sound while accompanying pop vocals and African chants; some critics have observed political themes such as feminism, injustice and the ecosystem throughout the song's lyrics. Shadowland has been mostly positively received by music and theatre critics; both Headley and actresses who replaced her in subsequent productions of the musical have been praised for their vocals and performances.

Full Orchestra - Level 4 - Digital Download

SKU: A0.849337

Composed by Ewing Lauder. Arranged by Ewing Lauder. Contemporary,Film/TV. Score and parts. 34 pages. Ewing Lauder #3911481. Published by Ewing Lauder (A0.849337).

Exotic adventure movie inspired overture music for small orchestra.

Full Orchestra - Level 5 - Digital Download

SKU: A0.1425953

Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grahame Gordon Innes #1006742. Published by Grahame Gordon Innes (A0.1425953).

Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey

MOVEMENTS 4 – The Sirantiga Disaster 

TOTAL NUMBER OF BARS = 2670 

TOTAL DURATION = 125 minutes 

General methodology of composition;

1.       No fixed tonal centre

2.       Each movement inherits material from its predecessor

3.       The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.

4.       The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.

There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.

Full Orchestra - Level 5 - Digital Download

SKU: A0.1425941

Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes #1006730. Published by Grahame Gordon Innes (A0.1425941).

Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey

MOVEMENT 1 – The Kytonian Expanse

TOTAL NUMBER OF BARS = 2670 

TOTAL DURATION = 125 minutes 

General methodology of composition;

1.       No fixed tonal centre

2.       Each movement inherits material from its predecessor

3.       The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.

1.       The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.

There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.