SKU: AP.41200S
UPC: 038081471792. English.
The familiar uplifting themes of the first movement of Mozart's tuneful Gran Partita, K361, written for 13 wind instruments, can now be heard in this delightful first-time arrangement for string orchestra. This is a true showpiece for your players with many teaching opportunities, and a solid audience pleaser---a perfect choice for concert or contest. (7:50) This title is available in MakeMusic Cloud.
SKU: AP.41177S
UPC: 038081483610. English.
A favorite if there ever was one, this melody is perfect for first position playing. All instruments first play the melody in its entirety, followed by a section harmonized in the style of Beethoven. (1:30) This title is available in MakeMusic Cloud.
SKU: KN.8938
UPC: 822795089387.
Young string players do not get the opportunity to play Brahms often because much of his greatest music is written for piano and other works are too complex. But embedded in the fiery Rhapsody In B Minor (Op. 79, No. 1) is a beautiful interlude which takes on a form of its own. Simple melodies are passed among all instruments and harmonized in parallel 3rds and 6ths. Simple repeated 8th-note patterns with some ties create the undulating current in the accompaniment which drives the piece to its dynamic extremes. Duration 3:00. Available in SmartMusic.
SKU: AP.49906S
ISBN 9781470657956. UPC: 038081575810. English.
A sequel to his earlier work Sunchasers, Starchasers by Tanner Otto is a dark, driving piece that makes B minor accessible to younger players by carefully avoiding any extensions in the violin, viola, and cello parts. Its memorable themes, reminiscent of a nighttime adventure, are spread across all instruments. The middle section becomes ethereal with the pizzicato in the viola, evoking an image of twinkling stars. Starchasers is a great teaching piece for 3/4 time and uses low-2 and high-2 work to reinforce the 1-2 finger pattern for intermediate students. (2:05).
SKU: AP.49032
ISBN 9781470645489. UPC: 038081564029. English. American Folk Song.
The American folk song Wayfaring Stranger has been given a fresh treatment by educator and arranger Michael Kamuf. In this setting, all instruments get a chance to play the melody while varying accompaniments create different moods and textures. This is the perfect vehicle to teach expressive playing and will make a great addition to any concert or festival program. (2:50) This title is available in MakeMusic Cloud.
SKU: AP.33646S
UPC: 038081376769. English.
Beethoven's resplendent Ode to Joy, from the last movement of his Symphony No. 9, is brought to life in an exciting arrangement designed to foster instant success for ensembles of less experienced players. The solid scoring will boost confidence and help to insure a secure performance. An added feature of this work is that all instruments have some part of the main theme to play throughout its course. Audiences will thrill to the instantly recognizable tune, and players will be amazed at how quickly they master their parts. This title is available in MakeMusic Cloud.
SKU: AP.49906
ISBN 9781470657949. UPC: 038081575803. English.
SKU: AP.49032S
ISBN 9781470645496. UPC: 038081564036. English. American Folk Song.
The American folk song Wayfaring Stranger has been given a fresh treatment by educator and arranger Michael Kamuf. In this setting, all instruments get a chance to play the melody while varying accompaniments create different moods and textures. This is the perfect vehicle to teach expressive playing and will make a great addition to any concert or festival program. (2:50) This title available in MakeMusic Cloud.
SKU: AP.44798
UPC: 038081517292. English. Traditional.
One of several popular dances from time of the French Renaissance, jouissance refers to a dance in which the feet stay on the floor, as opposed to one with leaps or lifts. This setting by Deborah Baker Monday has a driving pulse with attractive modal harmonies in the friendly key of E natural minor. All instruments have melodic lines. This arrangement also provides a great opportunity for teaching double up-bows and two-note slurs followed by two separate notes. The added percussion part will make this piece a great selection for festival or your next concert! (1:45).
SKU: HL.49001988
ISBN 9790001021586. 8.25x11.75x0.053 inches.
3 melodic instruments (violins, flutes, oboes) or string orchestra and basso continuo (harpsichord, piano); cello (viola da gamba, bassoon) ad lib.
SKU: HL.49001987
ISBN 9790001021579. UPC: 073999264371. 8.5x11.75x0.128 inches.
SKU: HL.49001986
ISBN 9790001021562. UPC: 073999490541. 9.0x12.0x0.094 inches.
SKU: AP.31580
UPC: 038081349817. English. Traditional.
Let the earth receive her King! So rings the closing chord of this lovely setting of Good King Wenceslas, We Three Kings and Joy to the World. Unison parts and varied section features provide interest and skill building for all instruments in this truly easy holiday piece. Correlates with String Explorer Book One, page 32.
SKU: TM.06285SC
Old format instrumentation.
SKU: TM.06285SET
SKU: TM.08462SC
All instruments in modern keys/clefs. Clothbound Score.
SKU: TM.08462SET
SKU: AP.BFOM01007C
UPC: 654979019558. English. Strings ed. Reginald F. Nicholson.
A delightful combination of Winter Wonderland and Sleigh Ride to complete your holiday concert. The varied textures and tone colors explored make this a true holiday treat. Although the selections are light-hearted in nature, the treatment is passionate and extremely musical. A great combination certain to be enthusiastically received.
SKU: FG.55011-315-2
ISBN 9790550113152.
The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.
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