Full Orchestra - Level 4 - Digital Download SKU: A0.868922 Composed by Lev PULVER (1883 – 1970). Arranged by Sergei PICHUGIN. 20th Century,Musical/Show,World. Score and parts. 72 pages. Really Good Music, LLC. #4837469. Published by Really Good Music, LLC. (A0.868922). The last project of Solomon Mikhoels in the Moscow State Yiddish Theater (GOSET) was David Bergelson’s play Prince Reubeni (1947). Lev PULVER (1883 – 1970) composed music for the production, and it can be said that its quality perfectly corresponded to the grandeur of the performance as envisioned by Mikhoels. Since the work on the project has been stopped by the death of Mikhoels, the music for Prince Reubeni was preserved only as piano scores. Sergei PICHUGIN includes into this publication his own orchestral versions of two musical episodes of the play: Storm on the Sea and Dance of Dina.

Full Orchestra - Level 4 - Digital Download SKU: A0.868920 Composed by Lev PULVER (1883 – 1970). Arranged by Sergei PICHUGIN. 20th Century,Musical/Show,World. Score and parts. 36 pages. Really Good Music, LLC. #4837467. Published by Really Good Music, LLC. (A0.868920). The last project of Solomon Mikhoels in the Moscow State Yiddish Theater (GOSET) was David Bergelson’s play Prince Reubeni (1947). Lev PULVER (1883 – 1970) composed music for the production, and it can be said that its quality perfectly corresponded to the grandeur of the performance as envisioned by Mikhoels. Since the work on the project has been stopped by the death of Mikhoels, the music for Prince Reubeni was preserved only as piano scores. Sergei PICHUGIN includes into this publication his own orchestral versions of two musical episodes of the play: Storm on the Sea and Dance of Dina.

Full Orchestra - Level 5 - Digital Download SKU: A0.1489335 Composed by Percy Aldridge Grainger. Arranged by James Edwards. 20th Century,Classical,Contemporary,Folk,Traditional. 31 pages. James Edwards Musi #1066195. Published by James Edwards Musi (A0.1489335). A suite of 6 Lincoln folk songs orchestrated by Percy Grainger in the early 20th century, transcribed for Orchestra by James Edwards.

Full Orchestra - Level 4 - Digital Download SKU: A0.1435518 By Soundtrack. By Joseph LoDuca. Arranged by Pablo Guerrero-Martín. 21st Century,Classical,Film/TV. 37 pages. Pablo Guerrero-Martín #1013603. Published by Pablo Guerrero-Martín (A0.1435518). Orchestra and optional Female Chorus ( English phonetics of original Bulgarian)For more previews. Contact the arranger on: pabloguerreromartin@gmail.com Check your copyright laws for non educational purposes.In a time of ancient gods, warlords and kings. A land in turmoil cried out for a hero. She was Xena, a mighty princess forged in the heat of battle. The power, the passion, the danger. Her courage will change the world.The lyrics, chanted in the Bulgarian language, are:?????? ???? ??????? / Zhenata yazdi samotna??????? ?????? ????? ? / Neinoto minalo srazi ya????? ???????? ?? ????? ???? / Sreshtu voiskite ot tumen sviyat????? ?? ????? ??/ Vouva za dobro tya?????? ??????? ????? / Rogovi zvanove idvat???????? ??? ?? ????? / Napreyte pat na voyina!?????? ???? ? ????? / Tapani biyat va ritam?????????? ? ??? ???? / Princesata ye pak tuka!https://youtu.be/q8YH9AL4gnY.

Full Orchestra - Level 5 - Digital Download SKU: A0.534827 Composed by Albert Hague and Dr Seuss. Arranged by Bryan Kidd and Scott Silbert. Christmas,Holiday,Jazz,Pop,Standards. Score and Parts. 100 pages. BryanKiddMusic.com #140956. Published by BryanKiddMusic.com (A0.534827). The worlds of Theodor “Dr. Seuss� Geisel’s ‘Grinch’ and Duke Ellington’s “Such Sweet Thunder� collide in this brilliant arrangement by retired United States Navy Band Chief Arranger, Scott Silbert. It was adapted for orchestra from Scott’s jazz ensemble arrangement by his Navy Band predecessor, Bryan Kidd. This is an exceptionally fun, rewarding, but stylistically (“Ellington-ish�) demanding piece for professional-level full orchestra and vocal (Baritone or Bass) soloist; a jazz rhythm section and trumpet soloist are essential. Brass high note: Trumpet E6, Trombone 1 B-flat 4, Trombone 2 B4 NOTE: a letter-size (8.5x11) score is included with the set; a more easily read Tabloid (11x17) score is available separately (RECOMMENDED).

Full Orchestra - Level 4 - Digital Download SKU: A0.1323804 Composed by James Nathaniel Holland. 21st Century,Contemporary. 246 pages. James Nathaniel Holland #912005. Published by James Nathaniel Holland (A0.1323804). FULL SCORE AND INDIVIDUAL PARTS (Including Solo Cello and Individual Parts) The first cello concerto of 21st century, American composer James Nathaniel Holland for smaller orchestra and cello soloist.  Adapted from Piano Concerto No. 6, this lively piece contains three distinct movements.   Movement one giggles and bubbles with triumphant glee;  movement 2, a quiet rocking; ending with movement 3, a neo-classical style with modern sensibilities. (License or permission to perform may apply.)Instrumentation:  Fl, Ob, Cl Bb 1.2., Bsn, Hrn 1.2, Tpt, Trom, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal, high hat, bass drum, wood block) CELLO SOLOIST, StringsReduced Piano Score with individual solo and Piano Parts, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.

Full Orchestra - Level 5 - Digital Download SKU: A0.1269410 By Danny Elfman. By Danny Elfman. Arranged by Patrick Sheehan. Film/TV,Holiday. Score and Parts. 121 pages. Patrick Sheehan #861930. Published by Patrick Sheehan (A0.1269410). Transcribed from the soundtrack of the 1989 Geffen Company film “Beetlejuice�INSTRUMENTATION: Piccolo, Flute I, Flute II, Oboe I, Oboe II, Bassoon I, Bassoon II, Contrabassoon, Clarinet I (Bb), Clarinet II (Bb), Trumpet I (Bb), Trumpet II (Bb), Trumpet III (Bb), Horn I (F), Horn II (F), Horn III (F), Horn IV (F), Trombone I, Trombone II, Trombone III, Tuba I, Tuba II, Bass Drum, Tom-Tom, Cymbals, Tambourine, Ribbon Crasher, Slapstick, Timpani, Bass Marimba, Harp, Piano, Synthesizer, Organ, Violin I, Violin II, Viola, Cello, ContrabassABOUT THE ARRANGER:  Patrick Sheehan has served as a professional music arranger, transcriptionist and copyist since 1999, and has over 2,000 works in his catalog spanning various genres: wind band, orchestra, chamber music, along with pop & rock selections.  His modus operandi centers around creating arrangements and transcriptions that are true to the original definitive versions and strives to produce clean and easy-to-read music.  For questions or more information, please contact the arranger at PatrickSheehanMusic@GMail.com.

Full Orchestra - Level 3 - Digital Download SKU: A0.1451815 Composed by James Horner. Arranged by Kevin Riley. 20th Century,Celtic,Film/TV,Irish. 34 pages. Kevin Riley #1031126. Published by Kevin Riley (A0.1451815). Braveheart – Original Motion Picture Soundtrack is the instrumental soundtrack album to the 1995 film of the same name composed and conducted by James Horner and performed by the London Symphony Orchestra. It is Horner's second of three collaborations with Mel Gibson as director following The Man Without a Face (1993). The soundtrack, comprising 77 minutes of film score, was notably successful and was nominated for Best Original Score at the 68th Academy Awards in 1996, but lost to Luis Bacalov's composition to Il Postino.Horner's score includes a melody that appeared again in his 1997 music for Titanic. Irish band Clannadwrote a theme tune for the film, entitled 'Croí Cróga' (meaning 'braveheart'). However, the track was not used in the soundtrack, but was released by Clannad on the album 'Lore'. Several critics have noted similarities between the Main Theme and an earlier theme song, Kaoru Wada's Pai Longing in the 1991 anime series 3×3 Eyes.[2][3][4].

Full Orchestra - Level 4 - Digital Download SKU: A0.722894 Composed by Anton Rubinstein. Arranged by Marc GARETTO. 20th Century,Christmas,Classical,Holiday,Romantic Period. Score and parts. 50 pages. Marc GARETTO - Harmonie Editions #2863529. Published by Marc GARETTO - Harmonie Editions (A0.722894). Melody in F major op.3 n.1 for Orchestra arranged for Modern Full Orchestra by Marc Garetto, from the orchestration by Vincent d'Indy.KEY : FFlute 1 / Flute 2 / Oboe 1 / Oboe 2 / Clarinet 1 / Clarinet 2 / BassoonHorn 1 / Horn 2 / Trumpet 1 / Trumpet 2&3 / Trombone 1&2 / TubaGlockenspiel / TimpaniViolin 1 / Violin 2 / Viola / Cello / Double bass+ Optionnal SOLO Violin or Violaworld parts : 3rd Clarinet (Ob.1) / Alto Sax (Ob.2) / Bass Clarinet (Bassoon)Bb Tuba / 2nd Cello (Ctbass)Video Score :https://youtu.be/C_59caPIVtsGrade : 3,5 - Duration : 4'00''

Full Orchestra - Level 4 - Digital Download SKU: A0.1164156 Composed by Jeremiah Clarke. Arranged by Jim Hopson. Baroque,Classical,Historic,March,Wedding. Score and Parts. 43 pages. Phonos Music #764501. Published by Phonos Music (A0.1164156). Commonly known as ‘Trumpet Voluntary’, ‘The Prince of Denmark’s March’ is English baroque composer Jeremiah Clarke’s most celebrated work. Commonly played and wedding and commencement ceremonies, this iconic piece has been featured in countless movies, television programmes, and popular music releases. It is arranged here for full symphony orchestra (2222-4231, timp, perc, harp, piano, strings), featuring two trumpets in D (commonly played on A piccolo trumpet) set against a lush and regal backdrop of strings and winds. We believe this arrangement to be the definitive modern orchestration of this piece, using the full tonal palette of the modern symphony orchestra to create an air of majesty and excitement.

Full Orchestra - Level 4 - Digital Download SKU: A0.1148554 Composed by Michael Kamen. Arranged by Chris Siddall. Film/TV. Score and parts. 51 pages. Chris Siddall Music Publishing #748716. Published by Chris Siddall Music Publishing (A0.1148554). 1991’s Robin Hood Prince of Thieves was a huge box office success and Michael Kamen’s score is one of his finest. The song “Everything I Do (I Do It For You)� which Kamen co-wrote with Bryan Adams and Robert John Mutt Lange spent sixteen weeks at the number one spot in the UK singles chart, and went on to sell more than 15 million copies worldwide. This cue appears early in the movie, after Robin escapes imprisonment and returns home to England from the Crusades to find much has changed in his absence. Created from the original manuscript, this release offers a rare opportunity to perform film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!

Full orchestra String Bass - Level 3-4 - Digital Download SKU: HX.116989 Composed by Harry Gregson-Williams. Arranged by Stephen Bulla. Film/TV. 3 pages. Duration 400. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.116989).

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 centre2.       Each movement inherits material from its predecessor3.       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 centre2.       Each movement inherits material from its predecessor3.       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.

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. â€˜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.