Par MEYER RICHARD. Written as a metaphor for the hardship and isolation caused by the 2020 pandemic, this dramatic tone poem is a testament to courage and the undaunted nature of the human spirit. The piece follows the voyage of a ship and its crew to the open sea and into a devastating storm resulting in the separation of the crew and its ultimate reunion. The memorable melodies and stirring harmonies are sure to peak your students' imaginations while a variety of key and time signatures will challenge every section of the advanced string orchestra. A percussion part has been included to add touches of nautical color, resulting in an emotional, picturesque voyage with a cinematic flair. Check out Voyagers We, Undaunted by Richard Meyer! (6:40) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

This book which includes 308 tune transcriptions is organized around individual Fiddlers who typically combine Appalachian-style Fiddling with rags pop standards Midwest-style Fiddling and sometimes a touch of Western swingto create a style often identifiable as Ozarks.Thirty Ozarks fiddlers and their lives are highlighted with biographical sketches photographs and tune histories. Another 50 great Ozarks fiddlers are presented in a similarmanner but with less detail.The book and accompanying audio (with 37 tunes many recorded in the field) emphasize the older fiddling traditions connected to the square dances and community events more than those connectedto bluegrass music and modern contest Fiddling. Some of the tunes in the collection are old standbys such as 'Bile Them Cabbage' while others such as 'Finley Creek Blues' are unique to the region. 

Par PEPIN CAMILLE. Ce nonette s'inspire de la série Énergie blanche de Fabienne Verdier. Sur le fond lisse et bleu nuit des toiles viennent contraster des traits de peinture blanche, comme une force opposée. Au fil des tableaux, cette énergie évolue en ondulations nocturnes fluides ou rugueuses, en scintillements légers, en nuages vaporeux ou encore en crépitements. Les toiles semblent emplies de matière en apesanteur et c'est pourquoi j'ai imaginé une musique planante, cherchant un équilibre entre mouvement et immobilité. Pour moi, il se dégage de cette série bicolore l'idée d'une vitalité, d'une force, d'une lumière qui habite le vide infini et lointain du ciel. J'ai recréé cette énergie blanche en aspérités (grains de matière ou frêles touches de lumière) venant perturber ces nappes de bleu vibrant et mystérieux aux valeurs longues et étirées. Mon travail a été d'imaginer des variations de ces deux matière-couleurs grâce à la palette de textures extraordinaire qu'offrent les instruments à cordes. La pièce est ainsi conçue comme un voyage coloré et hypnotique en sept tableaux correspondant chacun à une toile de la série de Verdier. Hors champ est un épisode froid et nocturne au sein duquel de faibles lueurs de lumière tentent à peine de percer l'obscurité de la nuit. Des glissandi inquiétants naissent aux altos et violoncelles en stéréo et présentent le motif qui irriguera toute l'œuvre. La contrebasse émet une pulsation irrégulière et mystérieuse, au loin. Une ondulation douce puis majestueuse s'élève dans Ascendance. Avec l'arrivée des violons, elle traverse la matière sombre en répandant ses faisceaux brillants et lumineux. Turbulence est le lieu des perturbations. L'énergie blanche constituée ici de particules vives et chaotiques se dérègle sans cesse et envahit l'espace. Dans Synchronie I, les violoncelles se partagent le motif fondateur de l'ouvrage en un seul et même souffle, pur et suspendu. Puis, ils s'unissent pour ne former qu'une seule voix et un chant de violon les rejoint. Ce dernier se fait l'annonciateur de lumière durant cette brève accalmie. Mémoires du vent rappelle le début de l'œuvre avec cette palpitation irrégulière de la contrebasse et les glissandi inquiétants des cordes graves. Mais ces mémoires sont aussi l'écho des Turbulences qui se transforment ici en Vortex, dans lequel l'énergie blanche et chaotique devient un véritable tourbillon de lumière liquide. Pour clore la pièce, Synchronie II reprend Synchronie I avec la couleur plus froide et mystérieuse des altos, toujours en stéréo. Les touches de lumière des cordes aiguës s'affaiblissent avant de s'éteindre complètement, au loin. Cette pièce appartient au même cycle que mon quatuor à cordes Feuilles d'eau de Silvacane inspiré par la série du même nom de Fabienne Verdier. Camille Pépin / Date parution : 2022-06-08/ Répertoire / Orchestre à Cordes

This 5-minute medley for band and choir will be a cross-generational salute to the Beatles with songs that are more popular than ever! Perfectly crafted for younger ensembles songs include: Hello Goodbye; Ticket to Ride;Penny Lane; Can't Buy Me Love. Available separately: 3-Part Mixed 2-Part Concert Band (Grade 3) String Pak ShowTrax CD. Duration: ca. 5:10.

Commissioned by the Scottish Ensemble first performed on 15th December 2008 at Queen’s Cross Church Aberdeen. Programme note   'This short work is about conflict – expressed here by the clash of opposing musical forces. One ‘force’ an ‘arioso’ is based around the harmonic field of E and is  melodic tonal straightforward and at times emotional. It is mainly led by the first  violin. The other ‘force’ led by the double bass is strongly discordant [at first a  single note F latergradually growing to a giant cluster]. It is essentially chordal  [non-melodic] static suffocating inexorable and impersonal. Its only contrast is  getting louder or getting softer getting denser or less dense. The interruption of the opening ‘arioso’ by a single note F on the double bass is at first not very threatening and the reaction to it is one of surprise. Later as the threat increases so the reaction becomes stronger; at first one of irritation then anger. A passionate outburst on the violins follows which falls on deaf ears. Then a solo violin solo viola and solo cello all appeal in turn: still no response. Finally only fragments of the original ‘arioso’ are heard before dying away. Whereas near the

Régalez vos audiences avec ce mélange imaginatif de trois normes de Noël amusantes, célébrant le côté plus léger de la saison, y compris 'Mars des Jouets', 'Toyland' et 'Parade of the Wooden Soldiers'. L'écriture de chaîne idiomatique sera vraiment flatter votre ensemble comme ces airs engagement de ramener ces souvenirs des Noëls passés. Un changement rafraîchissant de rythme pour n'importe quel concert Décembre! / Orchestre A Cordes

Nymphea Reflection is a work by renowned composer Kaija Saariaho arranged for String Orchestra. Commissioned by the Schleswig Holstein Festival it was first performed on the 16th of August 2001 inElmshorn Germany by Sinfonietta Cracovia conducted by John Axelrod. Saariaho states that the starting point for Nymphea Reflection came from the idea of arranging her stringquartet Nymphea. Originally working on a straight arrangement she eventually realised that this would be very difficult and she'd need to find a new way of composing that particular piece of music. She designed a formal conceptfor each of the six sections imbuing them with very different characters.  Her simulation of electronic processing by means of orchestration is an innovative take on a new form while the effect ofthe poem by Arseniy Tarkovsky whispered by the musicians gives a haunting new perspective to both music and words.

In the spirit of Early American folk tunes here is an original work for strings that is spirited and fun to play. Another John Moss creation that will appeal to directors who seek well-crafted music for their younger groups. Dur: 0 083333333333333329

Ever ask your intermediate students to sing their parts? This one's for you! This American fiddling song is arranged by Renata Bratt so that every section gets a chance to sing the song as well as play the tune with idiomatic fiddle breaks based on the tune. Sounds great without the singing as well! The fast driving rhythmic power of offbeat accents in cut time is emphasized in this accessible D major arrangement. This tune calls for fast left hand fingers and some quick bow-crossings, though it stays in the first position. Great fun! (1:40) / Orchestre A Cordes

Composer Robert Buckley has created an engaging work that's filled with programmatic elements and sounds terrific with younger players. Students will love its film score atmosphere and the opportunity to play dramatic music that sparks the imagination.

The inspiration for this unique composition came from the charming Iroquois folk melody Ho Ho Watanay and the ancient Ojibwe legend of the dreamcatcher. It was believed that the magical webs of the dreamcatcher would filter out all bad dreams and only allow good thoughts to enter the mind. Robert's craftsmanship and orchestration for younger players has made this a winner for contest or concert programming.

Written in memory of the composer's grandfather, a Korean War Veteran, this piece is perfect to program as a tribute to all service men and women. The heroic melodies and harmonies, set in D Major, are shared throughout the ensemble, making it fun for all sections! The violins and cellos stay completely on the D and A strings, while the violas and basses use the G and D strings. This is a wonderful first selection to expose any young ensemble to independent parts among sections and the roles of melody and harmony, all while reinforcing the importance of using the 4th finger. The cello and bass parts have been doubled to create a strong, confident foundation while the viola and violin parts usually share similar rhythms while harmonizing. Fundamental dynamics and bowings will make this piece not only fun to play, but also a success among performers and audiences alike! (1:50) / Orchestre A Cordes