SKU: AP.33712S

UPC: 038081394527. English.

As the title suggests, this fun grade 1.5 piece features ever-changing time signatures that will intrigue and challenge the young string orchestra. There are four mood shifts in the piece, suggested by a student narrator who stands up and declares simply Once upon a time, Suddenly, Luckily, and Happily ever after. But what, exactly, is the story? That's up to your students and your audience to decide! This charming piece is simple rhythmically and note-wise, but a great way to get your orchestra counting. Sure to spark everyone's imagination! This title is available in MakeMusic Cloud.

SKU: TM.09975SET

Girls & Boys Come Out to Play, Upon Paul's Steeple Stands a Tree, Dame Get Up and Bake Your Pies, I Saw 3 Ships Go Sailing By, Sing a Song of Sixpence, There was a Lady Loved a Swine, Over the Hills & Far Away, The Frog and the Crow.

SKU: AP.40459S

UPC: 038081454191. English.

What happens when we mix Santa, tradition, and old-time fiddling? Of course, we get Fiddler on the Housetop! In this tongue-in-cheek and thoroughly playable arrangement, young string players will play like eastern European fiddlers, then spin into an upbeat and driving American fiddle version of the holiday standard. Whether a member of the orchestra or the audience, here's a humorous, toe-tapping arrangement of Up on the Housetop like you've never heard it before!

SKU: PR.41641576L

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

SKU: AP.46695S

UPC: 038081535371. English.

Mele Kalikimaka, the closest approximation of saying Merry Christmas that there is in the Hawaiian language, was written in 1949 and recorded by Bing Crosby and The Andrew Sisters in 1950. This first rendition of the tune is still popular today and many of your students and audience members will recognize it with delight! It is almost impossible not to sing the syncopated title phrase and beginning it on an up-bow helps create accents and fun! The accidentals are all familiar ones that give the piece color and interesting parts. Every section has their own entrances and gets a chance to play the main melodies and important supporting parts. Mele Kalikimaka, arranged by Jan Farrar-Royce, is a fun and musically educational way to celebrate the holiday season!

SKU: AP.49461

ISBN 9781470650285. UPC: 038081571065. English.

A cute, pedagogically-based (get it?), first-year bass section feature, this piece will be fun and is sure to make your beginners sound fabulous. This piece is in first position for all players except basses. Basses shift up to C and D on the G string and only play pizzicato. Continuing Bob Phillips' tradition of bass section features, Dance of the Bowless Basses is sure to become an integral part of your standard repertoire! Correlated to Sound Innovations, Book 1, Level 5. (2:00) This title is available in MakeMusic Cloud.

SKU: AP.49440

ISBN 9781470648664. UPC: 038081569468. English.

Found/Tonight arranged by Katie O'Hara LaBrie is the emotional mash-up of You Will Be Found from Broadway's Dear Evan Hansen and The Story of Tonight from Hamilton. First premiered by Ben Platt and Lin-Manuel Miranda at the 2018 March for Our Lives, this piece was dedicated to the kids impacted by gun violence in the wake of the Parkland, Florida tragedy. In this arrangement for strings and optional piano, melodies get passed from voice to voice, while rich harmonies tug at your heart strings. (3:10) This title is available in MakeMusic Cloud.

SKU: AP.48056

ISBN 9781470656331. UPC: 038081558615. English.

If I Can't Have You was performed by Shawn Mendes and is now arranged for string orchestra by Victor López. This Hot 100 hit is guaranteed to rock the house at your next concert. Hitting No. 1 on the iTunes chart, this solid pop-rock song will certainly add a little pizzazz to your program. A brilliant and unforgettable catchy melody, along with an upbeat groove, drives this solid pop-rock song from a new pop troubadour. Get the audience clapping along and let them have some fun. (2:20).

SKU: LO.30-3828MD

UPC: 000308157444.

Orchestral Score and Parts for Sing We the Song of Emmanuel This upbeat song from the Gettys has a modern groove and melodies, making it a great service opener and option for congregational singing in Christmas services. Supported by a rhythmic orchestration, you can’t help but to tap your feet and sing along!

SKU: AP.38479S

UPC: 038081431666. English.

Taking its name from the epicenter of Southern jazz in Memphis, this fun little boogie will get the orchestra moving! Featuring accidentals and chromatic passages throughout, each section gets its turn at the jazzy, swaggering melodies as well as the bouncy accompaniment parts. It's great practice for chromatics and a fun piece that students will enjoy learning.

SKU: AP.38447

UPC: 038081437446. English.

Here's a great 1940s Glenn Miller standard that will get any string orchestra swinging! The tunes, rhythms, and harmonies of the big-band era all come alive in this clever arrangement. All the string sections have opportunities to shine, and optional piano and vocal percussion parts add to the groove. And everybody gets to join in the classic Pennsylvania 6-5-0-0-0 chant! This is a chart that will truly bring the crowd swinging to their feet!