Score and Parts-This arrangement captures the essence of the original work as from the beginning until m. 76. It duplicates the original with the exception of the reassignment of roles. Playing the recording of the original will be helpful in providing the students with a model for performance.

From one of the most important composers of the baroque Tambourin Dance has been adapted for student players in an edition that can be used to teach cut-time dynamic contrast and both legato and spiccato style playing. Dur: 0 0625

Here's a Christmas standard that was a hit for Percy Faith and his orchestra an instrumental musical icon of the '50s and '60s. Dedicate it to the parents and grandparents who are always your most appreciative listeners at everyholiday concert. A great trip down their memory lane.

Grade 3Evocative and dramatic music played an important role in this year's most anticipated fantasy adventure based on the beloved writings of C.S. Lewis. Larry Moore has created a montage of the most memorable momentsfrom Williams' score with the wonderment and emotion of this powerful cinematic event. Dur: 2:20

After The Rain for String Orchestra draws on Max Ernst's disturbing painting Europe After the Rain which depicts the bleak remains of a landscape left after some inexplicable catastrophe.The work was commissioned by the City of London Sinfonia and first performed in the Queen Elizabeth Hall London 1992.

A classic song from one of popular music's most revered artists is now available for string groups with this superb arrangement by Larry Moore. James Taylor's Fire and Rain has become a trademark of his simple enduring style thatcommunicates so well with its listener. Dur: 2:20

This work for string ensemble was commissioned by the BT Scottish Ensemble and was first performed in June 1996 at the Hellenic Centre London by the BT Scottish Ensemble with Clio Gould (violin).Quoting Tavener: Tears ofthe Angels should be played at the extreme breaking point of 'tenderness'. In other words totally beyond our compassion and beyond our comprehension. Wrapped in a depth of inner silence of which we have no idea a stateof being not an emotion a tender light piercing the agonising darkness of the world. Also a humility of which we have no idea because it is not rooted in a hypocritcal or contrived deprecation of self but in the blindingvision of God Himself.Since we are 'human' and not angels the music can only be 'imagined' by us. All th strings are muted throughout except for the part marked solo violin. The solo violin is 'the chief among theAngels' and the whole piece must sound 'serene' and 'seemless'.Duration c. 17mins.

Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969) the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident above all in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations emblematic for the whole piece and based on a constant pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante) while retaining its concertato charakter is at the same time an example of the composers ability to create emotionally serene lyrical moods and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music the constant mutabilityof the tonal situations and the sophisticated acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska translated by Ewa Cholewka]

Full Score-This arrangement captures the essence of the original work as from the beginning until m. 76. It duplicates the original with the exception of the reassignment of roles. Playing the recording of the original will be helpful in providing the students with a model for performance.

7 pièces tirées des méthodes Le Monde du Violon/Le Monde de l\'Alto (vol. 1) pour orchestre à cordes. Par DEZAIRE NICO. Le Monde des Ensembles est une série pour instruments à cordes qui permet aux élèves de jouer ensemble dès le début. Des morceaux sont déjà disponibles pour ceux qui connaissent les rudiments du solfège. La série contient des pièces pour violon, alto, violoncelle et piano, et pour duos, trios, orchestres à corde ou autres ensembles. Elle offre au professeur la possibilité de démontrer ludiquement le résultat des leçons avec un ou plusieurs élèves lors d?une audition ou d?un concert. Le Monde des Ensembles s?apparente aux méthodes en deux volumes Le Monde du Violon et Le Monde de l\'Alto, mais peut également être utilisé séparément. Notre premier concert ! est un recueil de sept courtes pièces tirées des méthodes Le Monde du Violon (vol. 1) et Le Monde de l\'Alto (vol. 1) et arrangées pour orchestre à cordes, afin que les débutants puissent jouer avec des musiciens plus avancés. Les parties pour débutants se limitent au jeu sur cordes à vide et avec la première doigt. Les autres parties sont jouable en première position. L?instrumentation se compose des parties suivantes : violon (débutant), alto (débutant), violoncelle (débutant), violon 1, violon 2, alto (violon 3 ad lib.), violoncelle 1, contrebasse (violoncelle 2 ad lib. .) et piano ad lib. L?ensemble se compose d?une partition et de 11 parties. Les pistes de démonstration sont également disponibles en ligne. Ceux-ci servent d?exemple pour les débutants, particulièrement pour le travail à la maison. / Date parution : 2022-03-05/ Recueil / Orchestre à Cordes et Piano (opt.)

Bien que techniquement facile, ce travail est musicalement enrichissante et instructif. Les six mouvements de la suite, le caractère réellement petits morceaux, suivent les hongrois de chansons folkloriques. / Orchestre A Cordes

Arrangeur: William Zinn. Par ELLINGTON DUKE. Arrangé par William Zinn. Partition complète pour le 1er violon, 2e violon, alto, violoncelle et basse. Avec full score notation./ Recueil / Orchestre à Cordes