For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Country Hits Ligne De Mélodie, Paroles et Accords [Partition] Amsco Wise Publications
The Gig Book. By Adrian Hopkins_Tom Farncombe. The Gig Book. Country. Book Only....(+)
The Gig Book. By Adrian
Hopkins_Tom Farncombe.
The Gig Book. Country.
Book Only. 274 pages.
Wise Publications
#MUSAM997502. Published
by Wise Publications
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
Rhythm section, 2 trumpet, 2 trombone SKU: LO.30-2929L When the Roll I...(+)
Rhythm section, 2
trumpet, 2 trombone
SKU: LO.30-2929L
When the Roll Is
Called Up Yonder/When We
All Get to Heaven/On
Jordan's Stormy
Banks. Composed by
Mary McDonald. Arranged
by Stan Pethel. Choral.
Sacred Anthem,
Eastertide, General.
Score and parts. Lorenz
Publishing Company
#30/2929L. Published by
Lorenz Publishing Company
(LO.30-2929L).
UPC:
000308133356.
This
anthem is a lively fusion
of Mary's three favorite
gospel songs, and it
perfectly frames an
excitement and longing
for Christ's return. The
addition of a McDonald
original sustains the
bouncy gospel feel and
paints a victorious
picture of going home to
heaven's glory. 2 Tpt, 2
Tbn, Elec Gtr, Elec Bass,
Drums.
Swing. Arranged by
Willie Maiden. Sheet
music. Score and parts.
Handelsware #SMP 1194.
Published by Handelsware
(M7.SMP-1194).
English.
Short,
sweet and swingin'!
Willie Maiden's
arrangement of I'll Be
Seeing You packs a
whopper in a tiny box,
making this chart perfect
as an encoure closer for
any set. As recorded by
Maynard Ferguson and his
orchestra on the album
Dancing Sessions,
Willie's arrangement
makes great use of the
trombone section as they
carry the melody upfront
before passing it around
to the rest of the band.
There is some space for a
short trumpet solo before
the band comes roaring in
at the end to take it out
with a punch! This chart
should be in every band's
library! 5-4-4-3 (opt.
original instrumentation
available as
4-4-2-3).
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
CD only. Composed by John O'Neill. This edition: ED12422. Recording mediu...(+)
CD only. Composed
by John O'Neill. This
edition: ED12422.
Recording mediums.
Schott. CD. Schott Music
#ED 12422. Published by
Schott Music
(HL.49003181).
Cello, Clarinet, Flute,
French Horn, Piano,
Trombone, Trumpet, Violin
SKU: HP.9161
Composed by Pepper
Choplin. Musicals for
Adults. Ash Wednesday,
Lent, Palm Sunday, Holy
Week, Maundy Thursday,
Good Friday, Easter
Sunday, Jesus Christ -
Cross, Jesus Christ -
Death, Jesus Christ -
Redeemer, Jesus Christ -
Resurrection, Jesus
Christ - Savior. Choral
score. 92 pages. Hope
Publishing Company #9161.
Published by Hope
Publishing Company
(HP.9161).
UPC:
763628191610. Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Accomp CD SKU: HP.9163 Composed by Pepper Choplin. Accompaniment CD. Hope...(+)
Accomp CD
SKU:
HP.9163
Composed by
Pepper Choplin.
Accompaniment CD. Hope
Publishing Company #9163.
Published by Hope
Publishing Company
(HP.9163).
UPC:
763628191634. Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Voice-Dominant SA/TB Rehearsal CDs SKU: HP.9169 Composed by Pepper Chopli...(+)
Voice-Dominant SA/TB
Rehearsal CDs
SKU:
HP.9169
Composed by
Pepper Choplin. Listening
CD. Hope Publishing
Company #9169. Published
by Hope Publishing
Company (HP.9169).
UPC: 763628191696.
Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.
Value Pack (10 listening CDs) SKU: HP.9167 Composed by Pepper Choplin. Va...(+)
Value Pack (10 listening
CDs)
SKU: HP.9167
Composed by Pepper
Choplin. Value pack (10
listening CDs). Hope
Publishing Company #9167.
Published by Hope
Publishing Company
(HP.9167).
UPC:
763628191672. Pepper
Choplin.
Easter
Cantata Beginning with
John 3:16, this musical
tells the remarkable
Passion story. The theme
of God's love is
highlighted in every step
of Jesus' journey to the
cross. With a light
contemporary feel in the
rhythm and harmony, the
music is full of
memorable melodies with a
dramatic flair. From the
rhythmic call of Hosanna,
God Save Us to the
reassuring, Remember I Am
There to the dramatic one
note melody of They Came
to Arrest Him, this work
will provide a moving
experience for any
service during Holy Week.
The choir parts are
carefully crafted and
choir-tested, ensuring
that your singers will
perform with confidence.
Four of the pieces may
serve as Sunday anthems
as the larger work is
being prepared.
Accompaniment can be
provided by piano, or a
small ensemble of eleven
instruments arranged by
Ed Hogan. Performance
time is
39-minutes.
Instru
mental Parts include:
Conductor's Score, Flute,
Clarinet, Trumpet, French
Horn (opt. Alto Sax),
Trombone (opt. Baritone
T.C. or Tenor Sax),
Drums, Piano, Electric
Bass, 2 Violins (opt.
Viola), Cello & String
Reduction.