for String Orchestra Score. This toe-tapping polka is originally for piano solo and transposed to the keys of A and E major. The melody and harmony float between the violins, with a brief appearance for cello and bass. The viola section provides a strongrhythmic drive. This work was written and published in 1860 while Bares was still enslaved. Not only is it a strong example of a composition by a black composer, but also a playable introduction to more complicated key signaturesfor your orchestra.

These arrangements were written for string ensembles in primary and secondary schools music centres prep schools and for various ensembles at Charterhouse. They grew out of a need for playable yet musically challenging arrangements where maximum 'effect' is obtained by using naturally resonant keys and idiomatic bowings - and have been used and honed over many years. These also recognise the fact that in many schools Viola players are scarce; most of the easier arrangements are therefore in three parts with optional Viola (doubling second Violin) and optional Double Bass (Viola still optional) which can be played if necessary by a Cellist (special part provided). Thearrangements ensure that all departments have the tune or thematic material at some stage - not just the first Violins. Written with the development of young players' technique in mind. Arrangements of 'real' music providing worthwhile musical challenges. No independent Viola part (optional Double Bass and Viola parts provided.) All parts get a go at the tune!

from Encanto. Par MIRANDA LIN-MANUEL. This infectious mix of salsa and guajira with pop, hip hop, dance and Broadway elements rose to the top of the charts all around the world! Robert Longfield\'s string orchestra arrangement is true to the original, while still making it approachable for younger musicians. Your audience (and students) will definitely be singing along! / Date parution : 2022-07-28/ Répertoire / Orchestre à Cordes

In completion of the first part (Hortus Musicus 50 now out of print) this second part to the 'Music To The Midsummer Night's Dream' contains all the remaining four-part instrumental pieces from Henry Purcell's opera 'The Fairy Queen' (1692). Similar to the pieces in the first part the composer wrote them for performance by Strings but they can also be played by Wind Instruments only (in particular wood-wind) or with string and wind instruments mixed and also with one or several instruments to a part. The pieces were put in such an order that they again present a small self-contained suite.The titles to the several numbers which arepartly mentioned more exactly in this book indicate their place in the above named opera by Purcell. They elucidate at the same time the character of the various pieces. Thus No.1 Air (Second Music) is originally a (second) introductory piece of music for the opera which still precedes the actual Overture. No.2 Jig No.5 Air and No.8 Air are instrumental postludes to the first fourth and second acts of the opera respectively whereas No.4 'Dance for the Followers of Night' No.6 'Dance for the Green Men' and No.7 'Monkeys' Dance' present a motley picture of the operatic construction which provided a great number of allegoric persons and figures. From a purely musical point of view this second part too of the 'Music To The Midsummer Night's Dream' contains gems of old instrumental music. May this present book help to gain new friends for the noble art of the great Old-English composer.

For solo Cello Timpani and Strings.Popule Meus was commissioned through the Magnum Opus project: Kathryn Gould founding patron and commissioner and Meet the Composer project manager.It was first performed on 6thFebruary 2010 by Yuri Hooker (cello) and the Winnipeg Symphony Orchestra conducted by Alexander Micklethwate. Composer's Notes 'Popule Meus is a meditation on the Judaic and Christian text ?O my People whathave I done to you?? but itis also a Universalist contemplation of the wholesale rejection of God by modern man. However much manrejects God he cannot escape Him and indeed he is condemned to the supernatural by his deiformnature. InHindu terms he is the Absolute Ayam Atma Brahma (The Self is the Absolute).In this work the solo cello is the All-Compassionate One while the timpani represent man in his vain andpointless rejection. Although the solocello and strings and the timpani share the same material (four ideas aregradually revealed and they revolve four times during the piece) the timpani music is violent and becomesincreasingly frenzied and contracted while thecello and strings remain still and serene.So even in winning the Darkness loses and even in losing the Light wins. Passion Resurrection andRedemption; or in Hindu terms Atma (The Absolute) alone is real Maya (The Relative) ismerely illusion.'

Lady Gaga is still riding the wave of popularity with her infectious tunes and a stunning live performance style. Here is one of her signature hits in a terrific easy version for developing strings. Solidly scored and fun to play!

The opening Adagio is excellent for working on a full-bodied sound while developing a moderate to weighty bow arm. The Allegro section can be performed either as a full tutti work or in a concerto grosso fashion giving you the flexibility of featuring your outstanding individual players while still programming the work with a younger ensemble. Outstanding!

Par CLARKE JEREMIAH. This arrangement of 'The Prince of Denmark March,' or 'Trumpet Voluntary,' provides the perfect setting for advocacy and striving for excellence since it is so recognizable. Three different versions of the final 8 bars, containing incorrect notes, are included. Each version contains an increasing percentage of correct pitches. Each represents a different letter grade. Play all four versions and then explain to parents and administration that the A+, 100% correct version is what we do every day in orchestra. All sections play the melody in this piece, still providing a solid musical setting in a novelty piece. Audience members are sure to recognize it which makes it perfect for finding 'errors.' Along with the 'real' music for the final 8 bars, three other versions are included. The first version has 80% of the correct notes and 20% incorrect. The next has 90% correct notes and 10% incorrect. The next has 95% correct notes and 5% incorrect. The final, 'real' version has 100% correct notes. The 100% version should be played first for the audience explaining this version would get an A+ in an academic setting. Then play the 80% or B- version, then the 90% or A- Version, and then the 95% A version. Then explain to parents and administration that the only version that is acceptable is the 100% version and that is what we do every day in orchestra. This provides a perfect advocacy moment to discuss the benefits of music education with parents and a tangible explanation of striving for excellence to parents and students. Includes an educational packet with each part that features technical exercises, history, theory, composition, and more. Correlated to Sound Innovations, Book 1, Level 5. (2:00) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

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