If you're looking for another bland, soul-less transcription of a pop song for strings to collect dust in the back of your gig book while you idle away your hours providing background music behind the potted palm, this is NOT the arrangement you are looking for.

However, if you are looking to liven up your ensemble's repertoire with a hip arrangement of the summer's biggest smash from the world's bubbliest boy band... then look no further: THIS is the tune you need to take your performance to the next level! This spicy new take on the Jonas Brothers' latest jam includes an extendable solo section (in case that wedding party is taking too long to make their appearance at cocktail hour), chopping grooves that will land your quartet securely "in the pocket," a couple slick reharminizations to keep the audience on the edge of their seats, and enough flashy licks to finally prove to all those naysaying guitar players that yes, string players can be real rockstars!!!

That being said, if your ensemble is already forward-thinking enough to have brokered peace with those fret-loving, stick-twirling showboats that we know & love, this arrangement also includes an optional rhythm section lead sheet for performing with additional musicians. So whether you're striking up the band for a showcase, or simply providing the ambience for your next dinner party, reception, or corporate function, this arrangement has everything you need to keep your audience, and your ensemble, entertained.

Performance time - 3:44 without vamping solos, 5:00 if you wanna take another round, or 9:35 if the head table starts yelling "Free Bird"

Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond

December 1963, or Oh What a Night is a fun mega-hit by Frankie Valli and the Four Seasons. It is upbeat and fun to play, and works great for any occasion. I heard it at a wedding recently and said to my wedding quartet, "We don't have this one do we?" Well, we do now and so do you! Because of the funky rhythm and complex cello part, this should be played by an advanced intermediate or better group.

Thomas Wiggins was a talented American pianist and composer from the late nineteenth century. Born to slave parents, Wiggins was blind at birth and was not given usual slave labor. Instead, he learned to play piano by ear, and wrote his first composition at age 5. He was hired to tour throughout the US as a performer when he was only 8 years old, and earned an estimated $750,000 for his owner, General James Neil Bethune, making Wiggins arguably the most highly compensated pianist of the nineteenth century. Reportedly Wiggins could hear a performance only once and was able to reproduce the music at the piano. He continued to perform extensively until he was 55, when he allegedly suffered a stroke. Even after retiring, however, neighbors said they could hear Wiggins playing piano at all hours at his home in Hoboken, New Jersey.

Visit jeremycrosmer.com/black-composers for more Classical String Quartets by Black Composers, where you will find coupons and a wide selection of products. Composers include: Joseph Bologne, Thomas Wiggins, Ignatius Sancho, George Bridgetower, Francis Johnson, and more.

Here is my arrangement of Joe Hisaishi's "One Summer's Day" from the 2001 animated film, Spirited Away, directed by Hayao Miyazaki. However, I will note that this arrangement is more based on Joe Hisaishi's concert versions that you will find on most of his albums, and not the movie version, although both are nearly identical. I did add some musical techniques that are not present in the original piece ( ex. the tremolos in the very beginning), but those techniques were mainly used to help translate the piano parts in the original into more idiomatic parts for each instrument, and the overall majority of the arrangement is still very faithful towards its source material. That being said, there are some two-note chords, large interval jumps, various dynamic and tempo changes, and other very subtle details that I would expect an intermediate to advanced-intermediate group to be able to perform successfully. I hope you enjoy this arrangement!

Thomas Wiggins was a talented American pianist and composer from the late nineteenth century. Born to slave parents, Wiggins was blind at birth and was not given usual slave labor. Instead, he learned to play piano by ear, and wrote his first composition at age 5. He was hired to tour throughout the US as a performer when he was only 8 years old, and earned an estimated $750,000 for his owner, General James Neil Bethune, making Wiggins arguably the most highly compensated pianist of the nineteenth century. Reportedly Wiggins could hear a performance only once and was able to reproduce the music at the piano. He continued to perform extensively until he was 55, when he allegedly suffered a stroke. Even after retiring, however, neighbors said they could hear Wiggins playing piano at all hours at his home in Hoboken, New Jersey.

Visit jeremycrosmer.com/black-composers for more Classical String Quartets by Black Composers, where you will find coupons and a wide selection of products. Composers include: Joseph Bologne, Thomas Wiggins, Ignatius Sancho, George Bridgetower, Francis Johnson, and more.

Although Paul Dessau's Second String Quartet is very closely related to twelve-note music, it cannot be said to owe its inspiration to the serial method in the strictest sense. Rene Leibowitz had introduced the composer to the fascinating world of Schoenberg's twelve-note music during his first period of exile in Paris. With this String Quartet Dessau then worked out his own way of playing with the aesthetics of modern composition. Dessau works dodecaphonic constructions into the two lengthy movements - Andante con tenerezza and Adagio - without imposing them in dogmatic fashion. Disciplined thematic work is developed in a densely polyphonic setting to create a tightly structured landscape of laconic sententiousness.

?The Twentieth CenturyFox Trademark? fanfare was written in 1933 by Alfred Newman, who was the headof Fox's music department (1940 to 1960). By the 1970s, the fanfare (as well asthe Twentieth Century Fox logo) had been phased out of their films. However,George Lucas liked it so much that he insisted it be used for his Star Warsfilms, making the logo and fanfare a staple of the cinematic experience.

John Williams hassaid that Star Wars?s Main Title music was meant to be an extension of thisfanfare, writing it in the same key as Newman?s fanfare and becoming part andparcel of the scores to Star Wars (with Sony including it on each of the soundtracks).

Thisarrangement includes an optional drum kit part. It is a greatnumber to open any concert. Here is a recording of the original fanfare fromYouTube: https://www.youtube.com/watch?v=QoWp1jluo6c.



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