Full Orchestra - Level 3 - Digital Download

SKU: A0.1375804

Composed by French Canadian Carol and Gustav Holst. Arranged by Mark R Lewis. Christmas,Holiday,Religious,Sacred,Traditional. 70 pages. Mark R Lewis #960352. Published by Mark R Lewis (A0.1375804).

In Bleak Midwinter's Moonlight is a medley of two Christmas carols, In the Bleak Midwinter and Twas in the Moon of Wintertime. The first carol was originally written as a poem by Christina Rossetti and published in 1872. It has been set to music several times, but the tune most associated with the text, Cranham, was composed in 1906 by Gustav Holst. The second carol is a French-Canadian Christmas carol first written by a Jesuit missionary in 1642. This tune is also called the Huron Carol.

This medley is written for orchestra with 3-5 octave bell choir and goes back and forth between the two carols several times. Every time the carol changes there is a key change, sometimes between related major and minor keys and sometimes between two closely related keys. The melody is carried by the low, middle, and high ranges of the bells at some point in the piece and the accompanying voices are quite active throughout most of arrangement. Within the orchestra parts, the melody switches between woodwinds, brass, and strings several times, exploring several different sound colors throughout the piece.

In Bleak Midwinter's Moonlight is between the level 3 and level 4 range of difficulty. There are definitely passages that will require work and the multiple key changes require multiple handbell changes, but bell changes are never very abrupt and accidentals only happen in the transition passages. The most difficult part will probably be making sure the melody is always heard even when it is buried below active accompaniment. A few times the bass bells have quick passages that will require sharing of bells or a lot of practice. For orchestra, this piece should be playable by most intermediate players, though some brass parts push the comfortable extremes of the instrument.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1031686

Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686).

EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. 

Program notes:

Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.

The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!

It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.

However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.

- Austin Wintory, October 21, 2016

Orchestra - Digital Download

SKU: IZ.OMW201

Composed by Steven Liotta. Score and Parts. 31 pages. Imagine Music - Digital #OMW201. Published by Imagine Music - Digital (IZ.OMW201).

9 x 12 in inches.

Hope is the thing with feathers, by Emily Dickinson (1830 - 1886), was written in 1861 and first published in 1891. The text presents hope as a quality that shines even throughout adversity and that only hope can help us to remain positive during extreme situations.

Dickinson described hope as a bird that perches in the soul. The bird's song never stops, even when life is difficult. The poem suggests that it is hope's presence that keeps each individual moving forward in the face of adversity.

Hope is everlasting, ever shining and undefeatable. It liberates us from despair and gives us the strength to move on.

It only empowers us and in return demands nothing.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1018959

Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723. Published by Benjamin Sajo (A0.1018959).

Programme Notes:

 This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.

 The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  

 The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.

 Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.

About the Composer:

 Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1018940

Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940).

Programme Notes:

 This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.

 The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  

 The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.

 Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.

About the Composer:

 Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Digital Download

SKU: A0.933829

Composed by William Pagan-Perez. Contemporary,Standards. Score and Parts. 272 pages. William Pagan-Perez #4736067. Published by William Pagan-Perez (A0.933829).

The Western New York Trombone Concerto (For Trombone and Symphony Orchestra)

 

I. Arriving to Cheektowaga on 2017

II. The Lights of the Niagara Falls

III. Tonawanda’s Rhapsody 2018

The Western New York Trombone Concerto was inspired in real life experiences, in the smell, the food, the scenic views, and the great personal relationships of the composer during his first year living in the City of the Good Neighbors (Buffalo, NY). More than have a traditional virtuoso solo music featuring fast and extreme technical phrases, this concerto wants to introduce the trombone as a melodic instrument for those beginner listeners that are discovering the trombone for the first time. The concerto has colorful sticky melodies and exciting rhythmic patterns to produces a great experience to the listener.

Full Orchestra - Digital Download

SKU: A0.745480

Composed by John Philip Sousa. Arranged by Randy Calistri-Yeh. Holiday,Patriotic,Traditional. Score and parts. 76 pages. Custom Chamber Music #353409. Published by Custom Chamber Music (A0.745480).

Washington Post March is one of John Philip Sousa's most popular marches. This extremely flexible arrangement can be played with anywhere from 3 to 7 parts, suitable for orchestras of all types (full orchestra, string orchestra, chamber orchestra, school, community, or professional).

This song is also available as part of the collection American Patriotic Music for All, Volume 1, a package of four classic patriotic tunes and three complete Sousa marches (click the publisher link above).

To demonstrate the flexibility of this arrangement, the audio clip has an excerpt performed as a full concert band, a string orchestra, and a woodwind trio.

This song is in its original key, so it is easy to combine with your own choir or piano/organ parts.

Your purchase contains a full score, as well as individual parts in all the appropriate clef and transposition to support the following ensembles:
Brass trio, quartet, quintet, and sextet.
Woodwind trio, quartet, quintet, and sextet.
String trio, quartet, quintet, and sextet.
Clarinet trio, quartet, quintet, and sextet.
Saxophone trio, quartet, and quintet.
Mixed trio, quartet, quintet, and sextet, with optional percussion.
Wind ensemble, brass ensemble, string orchestra, full orchestra, and full band.

The parts are described as follows:
Part 1: Main melody. Piccolo, Flute, Oboe, Bb Clarinet, Soprano Saxophone, Bb Trumpet, Violin, Viola.
Part 2: Main harmony, possibly some B-section melody. Bb Clarinet, Alto Clarinet, Alto Saxophone, Bb Trumpet, Violin, Viola.
Part 3: Other harmony. Bb Clarinet, Alto/Bass Clarinet, Alto/Tenor Saxophone, French Horn, Bb Trumpet, Trombone, C/Bb Euphonium, Violin, Viola, Cello.
Part 4: Main bass line. Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass.
Part 5: Other harmony. Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass.
Part 6: Main melody down an octave, with some additional notes. Bass Clarinet, Bassoon, French Horn, Trombone, C/Bb Euphonium, Cello, Bass.
Part 7: Optional percussion (snare drum, bass drum, cymbal) that can be added to any of the above combinations, or skipped entirely.

We recommend the following combinations:
Trio: Parts 1, 2, 4 (#4 works better than #3 for trio).
Quartet: Parts 1, 2, 3, 4.
Quintet: Parts 1, 2, 3, 4, 5.
Sextet: Parts 1, 2, 3, 4, 5, 6.
Septet: Part 1, 2, 3, 4, 5, 6, 7.

Full Orchestra - Level 3 - Digital Download

SKU: A0.867962

Composed by Traditional. Arranged by Ric Flauding. 20th Century,Celtic,Christmas,Country,Sacred. Score and parts. 55 pages. Denise Lea Flauding #3543505. Published by Denise Lea Flauding (A0.867962).

New orchestrated version of Ric's very popular arrangement of O Come All Ye Faithful as recorded on several albums. Extremely unique and fun! PLEASE NOTE: Though the audio example features guitar(s), the soloist part may be played by any instrument with the melody & chords contained in the Rhythm part. Duration: 3:25.

flaudingmusic.com

Full Orchestra - Level 5 - Digital Download

SKU: A0.1430275

Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275).

From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail.  No spoilers however.  If you've not seen it, then add it to your playlist!

The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack  scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score.  It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.

Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.

This orchestration emulkates as closely as possible the soundtrack.  Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings. 

SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. 

The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate).  However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.

We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.

INSTRUMENTATON:

2 Flutes
2 Oboes
2 Clarinets
2 Bassoons
1 Contra-Bassoon (Optional)

4 Horns
2 Trumpets
3 Trombones
1 Tuba

Timpani
2 Percussion
[Cymbals/Suspp.Cymbal/
Bass Drum/Tubular Bells]

Keyboard
SATB Choir [Optional]
Strings.

Full Orchestra - Level 5 - Digital Download

SKU: A0.730493

Composed by James Nathaniel Holland. Contemporary,Musical/Show. Score and parts. 370 pages. James Nathaniel Holland #4800668. Published by James Nathaniel Holland (A0.730493).

Advisory: Ballet story contains adult situation and themes. Not suitable for audiences or performers under the age of 18.  


FULL ORCHESTRAL SCORE (with stage directions). Piano Score, Individual Parts (Parts 1 and 2) Sold Separately. American composer, James Nathaniel Holland, brings a ballet adapted from the first century Roman novel by Gaius Petronius (cir. 50 A.D.) to the stage. An entertaining ballet for adults (not suitable for general audiences under the age of 18), celebrating the male ballet dancer's physique and a laugh at our own human sexuality. The comedy is a romp of three gay protagonists and their adventures and misadventure in ancient Rome and their characters; an ex-gladiator, Enclopius, his young lover, Giton, and an upper class snob, Ascyltos. It should also be said that this ballet is not pure gratuitous vulgarity, there is a interweaving story containing a deeper message of real human relationships, the satire of ancient Roman archetypes, and a humorous glimpse into ancient Roman life that still rings true even 2,000 plus years later. Regardless of the subject matter, Holland's original music is fantastic tapestry of counterpoint, set in a sort of atonal-ism and heavy percussion, evoking a period of history no longer available to us. Although not all cues and counterpoint is contained here, this piano score is extremely useful for either a performance with 2 pianos and percussion and a dance company, a director's/choreographer's score, or a concise conductor's score, or rehearsal score. Measure numbers line up with the full score. An orchestral, performance CD is available for those company's on a budget.

Full Orchestra - Digital Download

SKU: A0.785324

Composed by Peter Ilyich Tchaikovsky. Arranged by Dorm 40 Music. Romantic Period. Score and parts. 258 pages. Dorm40music.com #3559541. Published by dorm40music.com (A0.785324).

The third movement of the unabridged Tchaikovsky Violin Concerto in D Major arranged for Tuba.  This work is EXTREMELY DIFFICULT for the tuba soloist but certainly not impossible.  The proof of this fact is the extraordinary recording of this work by trumpet virtuoso Malcolm McNab.

Full Orchestra - Level 4 - Digital Download

SKU: A0.1235198

By Annie Lennox. By Annie Lennox. Arranged by Reimund Merkens. 20th Century,Pop,Soul. Score and Parts. 16 pages. Reimund Merkens #830734. Published by Reimund Merkens (A0.1235198).

This is my second arrangement of greatest pop songs of all time for symphony orchestra. The song Why, words and original music by Annie Lennox, although already 31 years old, is a very impressive emotional soul ballad about relationship breakdown. In this song a woman (maybe Annie herself) asks herself why there is so much conflict in her partnership and in the world as well and describes her feelings and the pain her conflict brings. For me it is one of the most sensitive song lyrics ever written with an extremely soulful music.

Full Orchestra - Digital Download

SKU: A0.745444

Composed by Samuel Ward. Arranged by Randy Calistri-Yeh. Folk,Holiday,Patriotic,Traditional. Score and parts. 30 pages. Custom Chamber Music #353389. Published by Custom Chamber Music (A0.745444).

America the Beautiful, written by Samuel A. Ward with lyrics by Katharine Lee Bates, is a classic American patriotic tune.

This extremely flexible arrangement can be played with anywhere from 3 to 7 parts, suitable for orchestras of all types (full orchestra, string orchestra, chamber orchestra, school, community, or professional).

This song is also available as part of the collection American Patriotic Music for All, Volume 1, a package of four classic patriotic tunes and three complete Sousa marches (click the publisher link above).

To demonstrate the flexibility of this arrangement, the audio clip has an excerpt performed as a full concert band, a string orchestra, and a woodwind trio.

This song is in its original key, so it is easy to combine with your own choir or piano/organ parts.

Your purchase contains a full score, as well as individual parts in all the appropriate clef and transposition to support the following ensembles:

Brass trio, quartet, quintet, and sextet.
Woodwind trio, quartet, quintet, and sextet. String trio, quartet, quintet, and sextet.
Clarinet trio, quartet, quintet, and sextet.
Saxophone trio, quartet, and quintet.
Mixed trio, quartet, quintet, and sextet (all with optional percussion).
Wind ensemble, brass ensemble, string orchestra, full orchestra, and full band.

The parts are described as follows:
Part 1: Main melody. Piccolo, Flute, Oboe, Bb Clarinet, Soprano Saxophone, Bb Trumpet, Violin, Viola.
Part 2: Main harmony, possibly some B-section melody. Bb Clarinet, Alto Clarinet, Alto Saxophone, Bb Trumpet, Violin, Viola.
Part 3: Other harmony. Bb Clarinet, Alto/Bass Clarinet, Alto/Tenor Saxophone, French Horn, Bb Trumpet, Trombone, C/Bb Euphonium, Violin, Viola, Cello.
Part 4: Main bass line. Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass.
Part 5: Other harmony. Bass Clarinet, Baritone Saxophone, Bassoon, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass.
Part 6: Main melody down an octave, with some additional notes. Bass Clarinet, Bassoon, French Horn, Trombone, C/Bb Euphonium, Cello, Bass.
Part 7: Optional percussion (snare drum, bass drum, cymbal) that can be added to any of the above combinations, or skipped entirely.

We recommend the following combinations:
Trio: Parts 1, 2, 4 (#4 works better than #3 for trio).
Quartet: Parts 1, 2, 3, 4.
Quintet: Parts 1, 2, 3, 4, 5.
Sextet: Parts 1, 2, 3, 4, 5, 6.
Septet: Part 1, 2, 3, 4, 5, 6, 7.