Composed by Doris Gazda.
Edited by Amy Rosen.
FS-SWs. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
20+24+24+6+15+15+15
pages. Carl Fischer Music
#CAS7. Published by Carl
Fischer Music (CF.CAS7).
ISBN 9780825847578.
UPC: 798408047573. 8.5 X
11 inches. Key: D
major.
When you
have the good fortune to
visit Red Rock country in
the southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag is
challenging stylistically
and rhythmically. It
would be appropriate to
study both the ragtime
and swing styles while
working on it. When
you have the good fortune
to visit Red Rock country
in the southwestern
United States, you will
all at once feel that
majesty and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista.The Red
Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red
color.Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock
Rag is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it.
Doodle Variants Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Bob Lipton. Edited by J. Cameron Law. For string orchestra. Grad...(+)
Composed by Bob Lipton.
Edited
by J. Cameron Law. For
string
orchestra. Grade 2+.
Score and
set of parts. Duration 2
minutes, 30 seconds.
Published
by Grand Mesa Music
America, the Beautiful Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
By Samuel Augustus Ward. Arranged by Carmen Dragon, adapted by Douglas E. Wagner...(+)
By Samuel Augustus Ward.
Arranged by Carmen
Dragon, adapted by
Douglas E. Wagner.
Orchestra. Part(s);
Score; String Orchestra.
Pop Beginning String
Orchestra. 4th of July;
Patriotic; Summer. Grade
2.5. 72 pages. Published
by Alfred Music
Publishing
By Samuel Augustus Ward. Arranged by Carmen Dragon, adapted by Douglas E. Wagner...(+)
By Samuel Augustus Ward.
Arranged by Carmen
Dragon, adapted by
Douglas E. Wagner.
Orchestra. Score; String
Orchestra. Pop Beginning
String Orchestra. 4th of
July; Patriotic; Summer.
Grade 2.5. 8 pages.
Published by Alfred Music
Publishing
Rondo Energico Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Grand Mesa Music
Composed by David Bobrowitz. Edited by J. Cameron Law. For string orchestra....(+)
Composed by David
Bobrowitz.
Edited by J. Cameron Law.
For
string orchestra. Grade
3+.
Score and set of parts.
Duration 4 minutes, 30
seconds. Published by
Grand
Mesa Music
Classical Highlights Orchestre à Cordes [Conducteur et Parties séparées] - Débutant De Haske Publications
String Orchestra - very easy SKU: BT.DHP-1094713-070 Arranged by Nico Dez...(+)
String Orchestra - very
easy
SKU:
BT.DHP-1094713-070
Arranged by Nico Dezaire.
De Haske String Orchestra
Series. Set (Score &
Parts). Composed 2009. 24
pages. De Haske
Publications #DHP
1094713-070. Published by
De Haske Publications
(BT.DHP-1094713-070).
ISBN 9789043131919.
9x12 inches.
English-German-French-Dut
ch.
The De Haske
String Orchestra
Series offers
attractive pieces
especially composed and
arranged for string
orchestras. Students and
teachers are treated to a
great variety of musical
styles. Each part
presents a challenge to
the player. The Viola
part can be replaced by a
3rd Violin part, and the
Double bass part can be
replaced by a 2nd Cello
part. The Piano part is
mainly meant for support,
but it occasionally adds
new motifs as well.
Classical
Highlights is a
collection of six
arrangements of classical
themes dating from 17th
to 19th century. The
parts have been kept easy
and attractive; at the
same time they stay close
to the
original.
De
De Haske String
Orchestra Series
biedt u aantrekkelijke,
speciaal voor
strijkorkest
gecomponeerde en
gearrangeerde werken. De
stukken zijn geschreven
in verschillende stijlen:
van klassiek en folk tot
moderne, populaire
muziek. Iedere partij is
zo geschreven dat elke
speler in het orkest een
uitdaging heeft. De
partij voor altviool kan
door een derde viool
worden vervangen. De
partij voor contrabas kan
ook door een tweede cello
worden gespeeld. De
pianopartij dient als
ondersteuning, maar voegt
soms ook nieuwe motieven
toe aan de muziek.
Classical
Highlights is een
verzameling arrangementen
van klassieke
thema’s die
dateren uit de 17e tot en
met de 19e eeuw. De
partijen zijn eenvoudig
en aantrekkelijk
geschreven:
tegelijkertijd blijven de
arrangementen dicht bij
het origineel.
Die De Haske
String Orchestra
Series bietet
attraktive, speziell fu r
StreichÂorchester
komponierte und
arrangierte Stu cke in
einer stilistischen
Vielfalt von Klassik u
ber Folk bis zu modernen
U-Musikstilen. Jede
Stimme stellt dabei
besondere
Herausforderungen an die
Spieler. Die Violastimme
kann durch eine dritte
Violine und der
Kontrabass durch ein
zweites Cello ersetzt
werden. Die Klavierstimme
dient zur Unterstu tzung,
fu gt aber zuweilen auch
neue Motive hinzu.
Classical
Highlights enthält
Bearbeitungen von sechs
klassischen Themen aus
der Zeitspanne vom 17.
bis zum 19. Jahrhundert.
Die Stimmen wurden
einfach und ansprechend
gestaltet und sinddoch
zugleich getreu dem
Original. Die Ausgabe
enthält ein
Rigaudon von Henry
Purcell, das berühmte
Menuett aus der
Feuerwerksmusik
von Händel, ein
Andante von Haydn
(das Thema mit dem
berühmten
Paukenschlag), das Thema
aus Beethovens
Violinkonzert,
Das große Tor von
Kiew aus Bilder
einer Ausstellung von
Modest Mussorgsky und
schließlich noch
España von
Waldteufel und Chabrier.
De Haske
String Orchestra
Series è una nuova
raccolta pensata per i
suonatori di archi
principianti. Le
composizioni e gli
arrangiamenti raccolti
sotto questa etichetta
sono perfetti per chi
inizia a suonare e
prongono stili variegati.
La strumentazione è
sempre la stessa: violino
1 & 2, viola (o
violino 3), violoncello,
contrabbasso (o
violoncello 2) e
piano.Classical
Highlights è una
pubblicazione che
raccoglie sei
arrangiamenti di grandi
temi classici del XVII e
XIX secolo. Brani
motivanti e facilmente
accessibili, che rendono
onore
all‘originale.Tracc
e Demo:1. Rigaudon2.
Minuet3. Andante4.
Allegro5. Great Gate of
Kiev6. EspanaPer
effettuare il download
delle tracce demo, clicca
sul titolo selezionato e
scegli “Salva
come†nel
menu.
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Fire in the Forge Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Ted Allen. Edited by J. Cameron Law. For string orchestra. Grade 3 ....(+)
Composed by Ted Allen.
Edited by J. Cameron Law.
For string orchestra.
Grade 3 . Score and
parts. Duration 2
minutes, 51 seconds.
Published by Grand Mesa
Music
Gypsy Fantasy Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Grand Mesa Music
Composed by David Bobrowitz. Edited by J. Cameron Law. For string orchestra....(+)
Composed by David
Bobrowitz.
Edited by J. Cameron Law.
For
string orchestra. Grade
3.
Score and set of parts.
Duration 4 minutes.
Published
by Grand Mesa Music
Illumination Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Grand Mesa Music
Composed by Bob Lipton. Edited by J. Cameron Law. For string orchestra. Grad...(+)
Composed by Bob Lipton.
Edited
by J. Cameron Law. For
string
orchestra. Grade 3. Score
and
set of parts. Duration 3
minutes, 45 seconds.
Published
by Grand Mesa Music
Still, Still, Still Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Edited by J. Cameron Law. Arranged by Randall D. Strandridge. For string o...(+)
Edited by J. Cameron Law.
Arranged by Randall D.
Strandridge. For string
orchestra. Grade 2+.
Score and
set of parts. Duration 2
minutes, 30 seconds.
Published
by Grand Mesa Music
Lemon Twist Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Grand Mesa Music
Composed by David Bobrowitz. Edited by J. Cameron Law. For string orchestra....(+)
Composed by David
Bobrowitz.
Edited by J. Cameron Law.
For
string orchestra. Grade
1+.
Score and set of parts.
Duration 2 minutes, 20
seconds. Published by
Grand
Mesa Music
(Recorded by Meghan Trainor). Composed by Meghan Trainor and Kevin Kadish. Ar...(+)
(Recorded by Meghan
Trainor). Composed by
Meghan
Trainor and Kevin Kadish.
Arranged by Victor
López.
Orchestra. Part(s);
Score;
String Orchestra. Pop
Intermediate String
Orchestra. Pop. Grade 2.
78
pages. Published by
Alfred
Music
(Recorded by Meghan Trainor). Composed by Meghan Trainor and Kevin Kadish. Ar...(+)
(Recorded by Meghan
Trainor). Composed by
Meghan
Trainor and Kevin Kadish.
Arranged by Victor
López.
Orchestra. Score; String
Orchestra. Pop
Intermediate
String Orchestra. Pop.
Grade
2. 8 pages. Published by
Alfred Music
By Richard Meyer. By Richard Meyer. For String Orchestra. String Orchestra. High...(+)
By Richard Meyer. By
Richard Meyer. For String
Orchestra. String
Orchestra. Highland
String Orchestra.
Conductor Score & Parts.
Published by Alfred
Publishing. Level:
2.5 (grade 2.5).
Snow Ride Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by David Bobrowitz. Edited by J. Cameron Law. For string orchestra....(+)
Composed by David
Bobrowitz.
Edited by J. Cameron Law.
For
string orchestra. Grade
2.
Score and set of parts.
Duration 2 minutes, 20
seconds. Published by
Grand
Mesa Music
Summer Dance Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS19
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS19.
Published by Carl Fischer
Music (CF.YAS19).
ISBN
9780825854859. UPC:
798408054854. 8.5 X 11
inches. Key: D
major.
Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yet
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yetA
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerfulA
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel. A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing on beat 3
of m. 63, right before
the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel.A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out.In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a
powerful divisi
voicing on beat 3 of m.
63, right before the
final chord.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Handel : A Festive March Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by George Frideric Handel (1685-1759). Edited by J. Cameron Law. Ar...(+)
Composed by George
Frideric
Handel (1685-1759).
Edited by
J. Cameron Law. Arranged
by
Ronald Wilcott. For
string
orchestra. Grade 2. Score
and
set of parts. Duration 2
minutes, 10 seconds.
Published
by Grand Mesa Music
Springtide Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Grand Mesa Music
Composed by Darren Mitchell. Edited by J. Cameron Law. For string orchestra. Gra...(+)
Composed by Darren
Mitchell. Edited by J.
Cameron Law. For string
orchestra. Grade 4. Score
and parts. Duration 3
minutes, 44 seconds.
Published by Grand Mesa
Music
(Featuring: America / America the Beautiful / The Star Spangled Banner). Arrange...(+)
(Featuring: America /
America the Beautiful /
The Star Spangled
Banner). Arranged by
Jerry Brubaker.
Orchestra. Part(s);
Score; String Orchestra.
Belwin Intermediate
String Orchestra. Form:
Medley. 4th of July;
Fall; Graduation; Light
Concert; Patriotic;
Summer; Thanksgiving.
Grade 2.5. 104 pages.
Published by Belwin
Publishing
((Awesome Remixxx!!!)). Composed by Shawn Patterson (1965-). Arranged by Ralph F...(+)
((Awesome Remixxx!!!)).
Composed by Shawn
Patterson (1965-).
Arranged by Ralph Ford.
Orchestra. Score; String
Orchestra. Pop
Intermediate String
Orchestra. Movie. Grade
2.5. 12 pages. Published
by Alfred Music