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Full Orchestra - Level 4 - Digital Download

SKU: A0.1023992

Composed by Kyle Wernke. Contemporary,Folk,Holiday,Patriotic. Score and parts. 109 pages. Kyle Wernke Publishing #2121501. Published by Kyle Wernke Publishing (A0.1023992).

Commissioned by the Fort Smith Symphony - John Jeter, Conductor John Trumbull (June 6, 1756 - November 10, 1843) is perhaps the most overlooked of the Founding Fathers of The United States. Born and raised in Connecticut, John Trumbull was the son of Jonathan Trumbull (October 12, 1710 - August 17, 1785), Governor of Connecticut from 1769 to 1784, the only Royal Governor to side with the Americans during the Revolutionary War. Trumbull fought in the revolution, witnessing Bunker Hill and using his artistic abilities to sketch the British Works at Boston. Later, he was appointed second personal aide to General Washington, and in June 1776 he served as deputy adjutant-general to General Horatio Gates. Trumbull resigned from the army in 1777 over a dispute about the dating of his commission. In 1780 Trumbull traveled to London to study under Benjamin West: It was West who urged Trumbull to paint small pictures of the War of Independence, the works which would make him famous (he painted around 250 during his lifetime). In September of 1780, Continental troops captured British agent Major John Andre, after news of this reached Great Britain, Trumbull was arrested in retaliation. He was imprisoned for seven months. After the War, Trumbull again traveled to London, and then to Paris. It was here that Trumbull began work on two of the works depicted in this piece. He made sketches for the Surrender of Lord Cornwallis and, with the help of Thomas Jefferson, the US minister to France, he began working on The Declaration of Independence. In addition to paintings depicting the revolution, Trumbull painted numerous portraits, including those of George Washington, George Clinton (Governor of New York), Alexander Hamilton (the source of the $10 bill), and John Adams. I was tasked with composing a piece which would be educational for the students in attendance. I ended up writing a piece that would have educational material both in its musical construction and its subject matter. Trumbull's use of color, especially darker hues, and the structure of his paintings informed the construction of the piece. Three specific paintings influenced the work: The Capture of the Hessisans at the Battle of Trenton, The Declaration of Independence, and The Surrender of Lord Cornwallis. A recurring theme in the work of Trumbull is how the central act is always depicted at the center, with opposing groups on either side. The piece derives its form from this trait, casting the two large battle sections on the outsides, with the central act of the Revolutionary War in the center (The Declaration of Independence). The only percussion in the piece are drums, lending a certain militaristic feeling to the work, and evoking images of marching armies. Extended techniques are used repeatedly, casting a shade of uncertainty around the military campaigns (Washington's famous crossing of the Delaware and the seige at Yorktown), while The Declaration of Independence is scored in strict time and with more traditional harmonies, solidifying the event as the central moment of American history.

Trumbull Sketches
Orchestre

$60.00 53.77 € Orchestre PDF SheetMusicPlus

Full Orchestra - Level 4 - Digital Download

SKU: A0.775968

Composed by Carson Cooman. Contemporary. Score and parts. 18 pages. Musik Fabrik Music Publishing #2034761. Published by Musik Fabrik Music Publishing (A0.775968).

Miacomet Dreaming (2008) for orchestra is dedicated to Loretta Yoder and Kyle Latshaw. The title refers to Miacomet, a region of Nantucket Island, Massachusetts. This work is one of a variety of pieces deeply connected to the landscape of Nantucket. The inspiration for the work was an oil painting, Path to Miacomet (2006), by Loretta Yoder; its fervency of color and landscape provided the poetic image that drives the work. The music itself was worked out during a the early hours of darkness on the actual beach of Miacomet. As the sun set, and darkness covered the landscape, only the passionate sound of the surf remained. The music is fervent and searching in tone. It begins with a roar before quieting down to introduce its basic musical material-a simple lament-like theme in a folkinflected style. This material is used for further explorations, building to passionate climaxes. Finally, the opening music returns, but this time it is whispered. The movement winds down to a distant and reposed conclusion. Instrumentation 2 Flutes 2 Oboes 2 Clarinets in Bb Bass Clarinet 2 Bassoons 2 Horns in F 2 Trumpets in C 2 Trombones Tuba Timpani Percussion (1 player) Marimba, Tubular Chimes Violin I Violin II Viola Violoncello Contrabass Score in C Bass clarinet and contrabass sound one octave lower than written. PROGRAM NOTES Miacomet Dreaming (2008) for orchestra is dedicated to Loretta Yoder and Kyle Latshaw. The title refers to Miacomet, a region of Nantucket Island, Massachusetts. This work is one of a variety of pieces deeply connected to the landscape of Nantucket. The inspiration for the work was an oil painting, Path to Miacomet (2006), by Loretta Yoder; its fervency of color and landscape provided the poetic image that drives the work. The music itself was worked out during a the early hours of darkness on the actual beach of Miacomet. As the sun set, and darkness covered the landscape, only the passionate sound of the surf remained. The music is fervent and searching in tone. It begins with a roar before quieting down to introduce its basic musical material-a simple lament-like theme in a folkinflected style. This material is used for further explorations, building to passionate climaxes. Finally, the opening music returns, but this time it is whispered. The movement winds down to a distant and reposed conclusion. (part on rental: infoATclassicalmusicnow.com).

Carson Cooma - Miacomet Dreaming (2008) for orchestra
Orchestre

$19.45 17.43 € Orchestre PDF SheetMusicPlus

Full Orchestra - Level 3 - Digital Download

SKU: A0.718611

By Little Mix. By Ben Kohn, Christian Dotson, Erika Nuri, Heidi Rojas, Iain James, Jade Thirwall, Jesy Nelson, Kyle Christopher, Leigh-Anne Pinnock, Michelle Lewis, Mischke Butler, Perrie Edwards, Peter Kelleher, and Tom Barnes. Arranged by Daryl McKenzie. Contemporary. Score and parts. 101 pages. Daryl McKenzie #6473629. Published by Daryl McKenzie (A0.718611).

As recorded by Little Mix. Voice, Picc, 2Fl, 2Ob, 4Cl, BCl, 2Bsn, 5 Saxes, 4 F Hns, 4 Trumpets, 4 Trombones, Tuba, Piano, Keyboards, Guitar, Bass Guitar, Drums, 3 Perc, Harp, Vln 1, Vln 2, Vla, Vcl, CB.  Key of E minor.  Playable with reduced instrumentation. Also comes with a Rehearsal Piano part.

Big Band arrangement also available on SMP:

More arrangements by Daryl McKenzie: https://tinyurl.com/y4tjxfen
Wings
Orchestre
Little Mix
$89.99 80.65 € Orchestre PDF SheetMusicPlus

Full Orchestra - Level 5 - Digital Download

SKU: A0.1002835

Composed by Kyle Vanderburg. Contemporary. Score and parts. 112 pages. NoteForge #5793397. Published by NoteForge (A0.1002835).

I started writing what would become One Sows for the Benefit of Another Age in 2013, as I was sketching ideas for what became a piano trio. I liked what I had created, but two things became evident: The piece was destined to be for orchestra, and I was not good enough as a composer to finish it. Over the next seven years, I kept returning to this piece in my spare time, adding some sections, tweaking some others, and at some point I gained the experience to finish it. But the trade-off was that I no longer had the time. At least until Spring of 2020, when the COVID-19 pandemic put most of my projects on hold, and I was able to return to--and finish--the work.

The title came last. My ideas while I was writing centered around Americana (I was listening to a lot of Copland, Barber, and Ives) and infusing my history and experience in the Ozarks and on the plains. I knew I wanted to make use of the idea of illumination, of dawn. I wanted to start in the shadows and end aglow. The darkness was such a defining feature that my working title was Aegri Somnia, loosely translated from Latin as troubled dreams. As I continued working, I realized that the focus wasn't the darkness--the focus was the change.

I discuss change a lot in my teaching. Students often see change as transformative change--massive, radical, sweeping change, like winning the lottery, or winning an audition. Transformative change is easy--it usually involves hoping for a situation or a Deus ex Machina, and if it happens, it benefits us immediately. Iterative change, however--small, repeated, incremental change that builds up over time--is hard. An extra half-hour of work every day, a little extra contributed to savings every month, these changes add up over time and become significant. But it requires intention and action, and it doesn't reap immediate benefits. It may not end up benefitting us at all.

One Sows changes iteratively. It starts from a dark place, but is sprinkled with seeds of hope. A descending motive introduced in the violins brings us out of the darkness, albeit slowly. The idea spreads, develops, and eventually becomes part of a new idea, a new paradigm, that takes over.

In searching for a title, I came across Serit ut alteri saeclo prosit, North Dakota's Latin state motto, whose English translation is the title of this work. It's a recent addition to the North Dakota statutes, but a timeless message. Our work isn't finished yet.

One Sows for the Benefit of Another Age - Orchestra
Orchestre

$49.99 44.8 € Orchestre PDF SheetMusicPlus






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