Traditional Jewish Folksongs is a collection of six popular traditional Jewish/Yiddish/Sephardic/Hebrew songs and the Israeli National Anthem arranged for String Quartet. The Titles Include: 1. Hatikvah (The Hope) Israeli National Anthem, 2. Dona, Dona 3. Tzena, Tzena, Tzena, 4. Kuando el rey Nimrod, 5. Mayim Mayim, 6. Tumbalalaika and 7. Hava Nagilah. This advanced intermediate level arrangement is suitable for a variety of performance application to include Weddings and bar/bat mitzvahs. The approximate playing time for all songs is11:00 with repeats and 7:30 without. To view and listen to this piece in its entirety as well hundreds of other arrangement and transcriptions by Kenneth Abeling at the lowest prices available please visit: https://lincolnmusicpublications.com/

English - German - French.

A beautiful and wide-ranging collection of 41 great tunes from all over Argentina. This collection features tangos, milongas, chamames, chacareras, zambas and gatos as well as earlier styles and new compositions. Many pieces are presented as duets and there is the opportunity for the solo violinist to play along with the guitar or bandoneon and second violin accompaniment on the MP3 backing tracks. Summaries of the individual tunes and detailed notes on the music of Argentina enable you to get the best out of this exciting and colourful music. All pieces were recorded by Ros Stephen and are available as MP3 files for free download. The edition is suitable for players of level 3 and above.

"I would recommend this volume to anyone interested in exploring traditional music." (Sarah Kekus (Chair National Association of Music Educators [NAME] 2010-11)

"This is a really appealing book, and great value for money." (The Strad)

"Additionally, all pieces are expertly played by violinist Stephen. Her extensive notes on the different styles and tunes enable one to get the best out of this colourful and exciting music." (Australian Strings Association Journal, Stringendo)

O God, Beyond All Praising (Thaxted) (Bb) (String Quintet) - Intermediate - Digital Download. This marvelous arrangement of "O God, Beyond All Praising", a hymn tune based on the "Andante Maestoso" section from "Jupiter, the Bringer of Jollity" from Gustav Holst's The Planets, would be a fabulous addition to any music library and could be performed for church services, especially Weddings and Funerals, but would be appropriate any time during the church year. However, if you are looking to perform this selection for concerts or recitals, I would suggest you look for the arrangement of "Jupiter" (Andante Maestoso from "Jupiter, the Bringer of Jollity" from The Planets), also by Regis Bookshar. These arrangements are suitable for high school and college students but professional musicians would also enjoy playing these selections as well. Included are a score and a complete set of parts (9 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time. We have performed the Trumpet Quintet version of this composition quite often for numerous weddings and other special occasions.
The Planets, written between 1914 and 1917 by the English composer Gustav Holst, premiered at the Queen's Hall in London, on September 29, 1918 for an invited audience of about 250 people. In the fourth movement, "Jupiter, the Bringer of Jollity", Holst portrays Jupiter's supposedly characteristic abundance of life and vitality. Nobility and generosity are allegedly characteristics of those born under Jupiter, and in the slower, middle section marked "Andante Maestoso", perhaps the most well-known theme from The Planets (and the theme on which this arrangement is based), Holst provides a broad tune embodying these traits. In 1921, Holst adapted the theme to fit the patriotic poem "I Vow to Thee, My Country" by Cecil Spring Rice, and was written as a unison song with orchestra. It did not appear as the hymn tune until 1926, when Holst harmonized this melody, named "Thaxted", named after the English village where he had lived for many years. Holst's friend Ralph Vaughan Williams included it in Songs of Praise. It has since been performed at numerous occasions, most notably for the wedding of Prince Charles and Diana, Princess of Wales in 1981, and also at the funerals of Princess Diana in 1997, Margaret Thatcher in 2013 and Senator John McCain where it was performed at the Washington National Cathedral on September 1, 2018. In addition to being used as the melody for the solemn, patriotic hymn "I Vow to The, My Country", other settings of this hymn tune also include "O God, Beyond All Praising", by Michael Perry in 1982 and "We Praise You and Acknowledge You, O God", a paraphrase of the "Te Deum Laudemus" by Stephen P. Starke in 1999.
Regis Bookshar thought that it would be wonderful if other instrumentalists could have the opportunity to play this beautiful melody, so, in addition to the Trumpet Quintet version and this version for a String Quintet, consisting of 2 Violins, 1 Viola (which has the lead), 1 Violoncello and 1 Double Bass, he has made quite a few other arrangements of this selection. There are Quintets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may find something else that may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar, as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are added as often as possible. I'm certain that this beautiful arrangement of "O God, Beyond All Praising" based on the "Andante Maestoso" section from "Jupiter, the Bringer of Jollity" from Gustav Holst's The Planets, will continue to entertain both performers and audiences alike for years to come.

The Belgian violinist, Eugene Ysaye (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris premiere of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince Andre Poniatowski that was to include his 'nearly completed three Scenes au crepuscule', inspired by the Symbolist poetry of his friend Henri de Regnier. He made 'extensive revisions' to them in 1893, even if all that seems to have survived is a series of sketches in Bibliotheque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction).

We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysaye's first American tour in 1894-95, which at one stage was described as a 'concerto'. Then, as Debussy was putting the finishing touches to L'Apres-midi d'un faune in 1894, he told Ysaye he was now working on 'three Nocturnes for solo violin and orchestra which are destined for you', and which undoubtedly derived from his earlier 'Twilight scenes'. The first was to be 'for strings only'. the second for three flutes, four horns, three trumpets and two harps. the third combines all these instruments'. He also informed Ysaye, perhaps with Whistler's Nocturnes in mind, that they were to be like 'a study in grey in painting'. Debussy only abandoned this project in November 1896 after Ysaye told him he would not be able to premiere the Nocturnes in Brussels 'for financial reasons'.

My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the 'twilight' theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L'Apres-midi d'un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy's 'twilight' themes together in a new perspective.

ISBN 9781619111479. Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts. Several players may be used on each part. Whenever possible, every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The pieces may be performed as a solo for each instrument (Violin 1, Violin 2, Viola or Cello) with piano accompaniment, or as duets or trios, as well as full orchestra. If performed with full orchestra, the piano accompaniment is not necessary. The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas, Inc.

ISBN 9781610655156. This book was written to be used as a learning tool for beginners who read music. It presents very easy tunes to learn the basics of bowing and style, and progresses in difficulty with each tune. All of the arrangements are renditions that the author plays and has heard other fiddlers play. Many of the tunes are done in the style of Herman Johnson, a five-time National Fiddle Champion. Audio download available online.