By Alan Silvestri. By Alan Silvestri. Arranged by Graham Boag. Film/TV. Score and parts. 221 pages. Graham Boag #6864773. Published by Graham Boag

Full Orchestra - Level 4 - Digital Download SKU: A0.1303186 By Alan Silvestri. By Alan Silvestri. Arranged by Daniel de la Rosa Oliva. Film/TV. Score and Parts. 211 pages. Daniel de la Rosa Oliva #892784. Published by Daniel de la Rosa Oliva (A0.1303186). For Full Orchestra.

Full Orchestra - Level 4 - Digital Download SKU: A0.1404786 Composed by Alan Silvestri. Arranged by Joseph Perkins. 20th Century,Contemporary,Film/TV. 106 pages. Joseph Perkins #987850. Published by Joseph Perkins (A0.1404786). Small cuts and alterations have been made to lower the difficulty and allow for a string/full option. This arrangement can be used as string orchestra arrangement (with piano and Percussion) or with addition of winds up to full orchestra. Exposed Oboe/Bassoon/Horn parts are embedded or cued into the wind or string parts (or have ossia measures). The Bass Clarinet doubles the Bassoon. Alto Saxophone is a substitution part for French Horn. Tenor Saxophone doubles Trombone II. Baritone Saxophone doubles Trombone III.

Full Orchestra - Level 4 - Digital Download SKU: A0.1027087 Composed by Alan Silvestri. Arranged by Roberto Fabbroni. Film/TV. Score and parts. 167 pages. Roberto Fabbroni #632545. Published by Roberto Fabbroni (A0.1027087). *3222 - 4331 - tmp - 3perc - hp - pno - str. Duration: 7'. Optional Bass Clarinet part available. Set includes parts for Trumpet in Bb and C.

Full Orchestra - Level 2 - Digital Download Composed by Alan Silvestri. Arranged by Nilson Vieira. 20th Century. 49 pages. Nilson Vieira #887734. Published by Nilson Vieira

Full Orchestra - Level 2 - Digital Download SKU: A0.1012911 Composed by Fredrik Lundquist. Arranged by Fredrik Lundquist. Contemporary,World. Score and parts. 24 pages. Fredrik Lundquist #5868615. Published by Fredrik Lundquist (A0.1012911). Easy play entertainment music, suitable for almost every ocassion, A waltz written and inspired by the sweet season of summer landscape, green meadows , blue skies etc.The instrumentation in this version futures an almost full orchestra, if the ensemble should have more instruments than feautured in the score, they can double on other parts suitable. The piano part is optional.

Full Orchestra - Level 5 - Digital Download SKU: A0.1017072 Composed by Eoin Buchanan. Contemporary. Score and parts. 87 pages. 7plc Music #6079111. Published by 7plc Music (A0.1017072). At the centre of the Norfolk city of Norwich lies Tombland. The name evokes thoughts of haunting, death and Black Plague burial pits. Actually Tombland simply means empty space and it was here that Norwich market was sited. Violence seems to have been a recurring theme in the history of Tombland. In 1549 Robert Kett led a rebellion against the enclosure of common land. After a fierce attack on Bishop Bridge, Kett and his band of followers gained access to the city and took the Mayor, Thomas Codd, prisoner. Having spent a number of years as a clergyman in the Diocese of Norwich, I can tell you that this area is very different nowadays. However, its Normal cathedral and older buildings still offer a sense of struggles past, present and future. Inspired by Ray Sampson’s book, Tombland, this original work for full orchestra uses harmonic and rhythmic dissonance to portray the violent and oppressive struggle between those with and ‘those without. The blacksmith’s anvil heralds village life with church bells sounding and flute introducing children playing in the village square. Very quickly the scene changes as Basses offer a deep threatening tone and slowly the rhythmic confusion builds to an eventual climax. Horns then introduce a quasi carillon Dies Irae theme and flutes and piccolo enter with a haunting bird call until low strings and Cor Anglais begin the build up to chaos once again. The work’s false, dying ending suddenly gives way to a sacred style chorale leading to the very abrupt Malcolm Arnold style ending.

Full Orchestra - Level 5 - Digital Download SKU: A0.1485976 Composed by Richard E Brown. Classical,Contemporary. 138 pages. Dacker Music #1063031. Published by Dacker Music (A0.1485976). Fire Dance has 3 sections, following an A-B-A or simple ternary form: 1.    Furious   2. Contemplative   3. Tempo IThe title of this composition might encourage the listener to conjure up visions of a primitive tribal fire ritual, or possibly an entertaining dance performance with fiery hoops and batons. Both are valid reactions and neither of these interpretations would expect a specific program in the music. But an environmental theme can be discerned in the composition by interpreting the opening section as depicting a “furious” wildfire, while the quiet middle section “contemplates” the scene of devastation left behind in the fire’s wake with idyllic memories of what it was like before the fire. The final section would recall the fire’s fury and serve as a warning for the future if something isn't done to combat wildfire-causing climate change.Fire Dance is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, bells, timpani, 2 percussion, piano, and strings. Duration 5:00.

Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951. Published by Benjamin Sajo (A0.1018924). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.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: A0.758969 Composed by Timothy J. Olt. 20th Century. Score and parts. 64 pages. Olt Music #2893363. Published by Olt Music (A0.758969). Joyful Rebirth is a programmatic work for orchestra detailing the struggles of a close friend. This person was abused at home both emotionally and physically. In 2014 they ran away from home. Since this time they have turned their life around, are working on a bachelors’ degree, and starting to do amazing things with their life. The work starts with a brief description of the ridicule and abuse, then moves to the turmoil of deciding to run away. The person then leaves home, is taken in and nurtured, and starts their new life. They explore various things they had been denied, truly finding their own feet for the first time. The piece ends with the hope and promise of a bright future.

Full Orchestra - Level 4 - Digital Download SKU: A0.977473 Composed by Ken Hartfield. Rock. Score and parts. 55 pages. Ken Hartfield - Freeze Tracks Music #6853859. Published by Ken Hartfield - Freeze Tracks Music (A0.977473). Our beautiful planet earth has been provided for us to protect and keep thriving. It is up to us to keep it sustainable, not only for ourselves but for future generations, because life is precious and unpredictable. This lush and complex composition and arrangement results in a song that can resonate with so many people. It can inspire, uplift, and sweep you away with its harmonies and lyrics that so many will relate to, and includes an incredible guitar solo intertwined with intriguing rhythm guitar and percussion. The production is suited for Pop Orchestra with Vocals and has a background video for live performances. Backing tracks are available as well, which will provide you and your Pop Orchestra/Vocal group with a full sounding production regardless of the size of your instrumental backup. Individual backing tracks include a click track plus a variety of individual MP3 tracks. We have included the following in this publication: Full score and parts, 2 Flute 1 &2, 1 oboe 1&2, 2 clarinet 1&2, 2 Trumpet 1 & 2, 2 French Horn 1 & 2, 2 Trombone. 1 Drum set, 1 Crash Cymbal, 2 Congas, 1 Timpani, 2 Electric Guitar, 1 Electric Bass, 1 Piano, 4 Soprano 1&2 , 4 Alto 1&2, 4 Tenor1&2, 8 Violins 1&2, 8 Violas 1&2, 2 Cello and 1 Double Bass, 

Full Orchestra - Level 4 - Digital Download SKU: A0.1408248 Composed by Sergei Lyapunov. Arranged by Arkady Leytush. 20th Century. 72 pages. Arkady Leytush #990829. Published by Arkady Leytush (A0.1408248). Sergei Lyapunov, the centenary of his death, which we celebrate this year, was a brilliant pianist, gifted composer and teacher. His scherzo, modestly titled “Humoresque,� ​​is a brilliant virtuoso piece in which, thanks to symphonic development, I heard a potential orchestra. Working on the orchestral transcription of this work was an absolute pleasure for me, since the soloists and groups of the future orchestra reproduced exclusively in accordance with their nature, character and mobility. In other words, to put it in theatrical language, the casting turned out to be very successful. In a regular score, the overall sound takes on a different scale and can delight listeners and musicians with excellent virtuosic compositions, updating the standard repertoire.

Full Orchestra - Level 2 - Digital Download SKU: A0.755142 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 72 pages. Sy Brandon #3406019. Published by Sy Brandon (A0.755142). Legend of 10,000 Lakes musically depicts the history of Minnesota. The piece opens with a broad theme in the low instruments that represents the natural landscape. This soon develops into a hymn-like section representing the majesty of this great land. The Allegro section represents the struggles between native and outside cultures for control of this land. The Moderato section is a folk dance that leads into a religious hymn of thanks. The Allegro section returns at the end to remind us that no one controls the land, as the land belongs to everyone and should be revered, respected, and protected for future generations. The score prints on legal size paper and the parts on letter.

Full Orchestra - Level 5 - Digital Download SKU: A0.1026909 By Andrei-Lucian Drăgoi. By Andrei-Lucian Drăgoi. Arranged by Andrei-Lucian Drăgoi. Contemporary,Contest,Festival. Score and parts. 272 pages. Andrei-Lucian Dragoi #632345. Published by Andrei-Lucian Dragoi (A0.1026909). Concerto for piano and medium-sized symphonic orchestra (or chamber orchestra) Music (sketched between 2002-2010; firstly published on May 8th, 2022) by `dr. Andrei-Lucian Drăgoi (DRAGOII.com), (GCP.dragoii.com, MS.dragoii.com, SMP.dragoii.com, YT.dragoii.com) Dedicated to all my all my past and future music teachers and models Motivation*: Because my father bought me a guitar instead of a piano many years ago... (and I've thus decided to at least create a piano concerto instead of playing one!) I still ask myself if I'd ever created such a piano concert if my father would have bought me a vertical piano or even an electronic piano from the beginning... *Motivație: Pentru că tatăl meu mi-a cumpărat cândva o chitară clasică în locul unui pian acum mulți ani... De aceea am decis să creez un concert de pian, dacă nu am putut să cânt profesional la pian! Mă întreb și acum dacă aș mai fi ajuns să creez acest concert dacă tatăl meu mi-ar fi cumpărat atunci o pianină sau chiar și o orgă electronică... Full Score & parts (272 A4 pages) Târgoviște, May 2022.

Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.