By Traditional. Arranged by Sandy Feldstein. String orchestra. For String Orchestra. Carl Fischer Beginning String Orchestra Series. Grade 1. Full Score. Standard notation. 8 pages. Published by Carl Fischer Full Score

By Arcangelo Corelli (1653-1713). Arranged by Doris Gazda. For Violin I, Violin II, Violin III, Viola, Cello, Bass, Piano. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. 76 pages. Duration 3 minutes, 24 seconds. Published by Carl Fischer

By Anne Mcginty; John Edmondson. Orchestra. For violin 1. Queenwood Beginning String Orchestra. Queenwood Orchestra. Elementary. String orchestra method

By George Frideric Handel (1685-1759). Arranged by Amy Rosen. For String Orchestra. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and Parts. Standard notation

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

By Anonymous. Arranged by Virginia Croft. String orchestra. For String Orchestra. Carl Fischer Beginning String Orchestra Series. Classical. Grade 1. Full Score. Standard notation. 8 pages. Published by Carl Fischer

Composed by Matt Turner. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, drums, piano). Score and parts. Duration 3 minutes, 02 seconds. Published by Carl Fischer

Composed by Doris Gazda. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 3 minutes, 13 seconds. Published by Carl Fischer

Composed by Bill Calhoun. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 11 seconds. Published by Carl Fischer

Composed by Anthony J. Showalter. Arranged by Carl Strommen. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 4 minutes, 12 seconds. Published by Carl Fischer

Composed by Deborah Baker Monday. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 3 minutes, 36 seconds. Published by Carl Fischer

Composed by Larry Clark. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 41 seconds. Published by Carl Fischer

Composed by George Sweet. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 37 seconds. Published by Carl Fischer

Composed by Yukiko Nishimura. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 4 minutes, 22 seconds. Published by Carl Fischer

Composed by Larry Clark. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 27 seconds. Published by Carl Fischer

Composed by Gene Milford. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 32 seconds. Published by Carl Fischer

By Joseph Compello. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 37 seconds. Published by Carl Fischer

Composed by George Sweet. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 3 minutes, 12 seconds. Published by Carl Fischer

Composed by Alan Lee Silva. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 11 seconds. Published by Carl Fischer

By Bob Cerulli. By Bob Cerulli. For String Orchestra. String Orchestra. Belwin Very Beginning String Orchestra. Level: 1 (Yellow) (grade 1 Yellow). Conductor Score and Parts. Published by Alfred Publishing.

By Doris Gazda. For Violin, Viola, Cello, Double Bass, Piano. Carl Fischer Performance Series for String Orchestra. Level: beginning. Score and parts. 8 pages. Published by Carl Fischer.

Composed by Sean O'Loughlin. For string orchestra (violin I, violin II (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 2 minutes, 09 seconds. Published by Carl Fischer

By Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland String Explorer. Form: Waltz. Grade .5. 72 pages. Published by Alfred Music

By Richard Meyer. Orchestra. Score; String Orchestra. Highland String Explorer. Form: Waltz. Grade .5. 8 pages. Published by Alfred Music

By Brian Balmages. Beginning String Orchestra. FJH Beginning Strings. Score only. Full set (score and parts) for this title: ST6107. String Orchestra. Score. Composed 2006. Published by The FJH Music Company Inc.
Level: Grade 1 (2/4).

By Alan Lee Silva. For Full Score, Violin I, Violin II, Violin III, Viola, Cello, Bass, Piano, Harp (Optional, Percussion (Optional) - Slap Sticks Tom-Tom. Carl Fischer Concert String Orchestra Series. Grade 3 and up. Score and part(s). Published by Carl Fischer

Composed by David Hinds. Score and part(s). With Standard notation. 8 70 pages. Duration 2 minutes, 22 seconds. Carl Fischer #YAS0155. Published by Carl Fischer (CF.YAS155).

By Traditional. Arranged by Michael Hopkins. Orchestra. String Orchestra. String Alternatives. Contemporary. Grade 2.5. Conductor Score and Parts. 114 pages