"This I Promise You" is one of *NSYNC's most iconic love songs and a ubiquitous pop hit of the early 2000's. Originally written by Richard Marx, this song lasted 13 weeks at number 1 on the Billboard Adult Contemporary chart after its release, so any child of the 90's probably knows this one by heart! I had the honor of performing this song with Richard Marx himself as part of the quartet-in-residence for his 3-week residency "Satisfied: Only The Hits" at the Flamingo Hotel in Las Vegas, so I'm super excited to bring you my own version!

This arrangement for string quartet will be perfect for pop concerts, solo & ensemble concerts, weddings, receptions, and any other occasion that needs some boy band throwback nostalgia - you're sure to get everyone singing along! Full of catchy melodies, beautiful layered harmonies, and a laid back R&B-style groove, this arrangement is just as much fun to listen to as it is to play. Rated intermediate - there is nothing very difficult in any of the parts and this chart will be easily sightreadable for professionals, but students might need a minute to look at the syncopated rhythms in the violin parts.

Why choose Cellobat Charts arrangements? For any musician who knows what they're doing, the answer is easy: just listen to them. Every freelance musician has thrown hard-earned money away on questionable, error-filled charts by unknown arrangers from weird corners of the Internet. But watch out -- inferior arrangements not only make gigs less enjoyable to play, but they also make your group sound bad to your client and audience, no matter how great your players really are. That's why Cellobat Charts is here: to provide students and working string players alike with high-quality versions of highly requested music. My arrangements are guaranteed to be energetic, fun to play, and enjoyable to listen to, whether or not you're familiar with the original songs. Hear the difference for yourself! Full videos of many Cellobat Charts arrangements are available on YouTube so you know exactly what you're getting. Click "Watch" near the item details at the top of the page for full video of "This I Promise You." Crowd pleasing guaranteed.


Sarah "Cellobat" Chaffee earned her bachelor's degree in cello performance from the Cleveland Institute of Music and is now based in Las Vegas. She currently performs with Aerosmith in their "Deuces Are Wild" residency at The Park MGM Theater on the Las Vegas Strip. Sarah is also the principal cellist in David Perrico's Pop Strings Orchestra, a 14-piece band that performs every Friday and Saturday at Caesars Palace, and she plays regularly for Premiere Wedding Music and Bella Electric Strings. Sarah has performed and recorded with many other artists including Halsey, Disturbed, Mötley Crüe, Celine Dion, Kygo, Ricky Martin, Sarah Brightman, Il Divo, and Lady Antebellum. She can be found at:
http://www.cellobat.com
http://www.instagram.com/cellobat
http://www.youtube.com/c/SarahCellobatChaffee

German.

An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner?s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG ?Die Meistersinger von Nürnberg is today still considered a German festival and national opera: this evaluation is borne out by the opera?s performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche?s publication \"Jenseits von Gut und Böse\" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as ?magnificent, ornate and ponderous art? and Wagner?s music in general as being ?rough and coarse?. This music according to Nietzsche possesses ?no trace of the fine southern clarity of the sky and nothing of grace?, but instead ?a cumbersome garb, with a touch of licentious barbarism and solemnity? and ?even a certain degree of ungainliness?. Nietzsche?s evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott?s Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. [?] When the saying ?the music sets the tone? is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound.? (Egon Voss, quoted from the foreword of the new Meistersinger vocal score; translated by Lindsay Chalmers-Gerbracht).