Orchestra - Grade 1

SKU: AP.44841S

Composed by Susan H. Day. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Fall; Halloween. Score. 12 pages. Duration 2:35. Highland/Etling #00-44841S. Published by Highland/Etling (AP.44841S).

UPC: 038081518411. English.

Perfect for your fall concert, here is a piece that has spooky lyrics to teach the rhythms in the easy melodic line. Upper string parts are doubled, and the cello part doubles the bass line. Everyone gets to do glissando in this original by Susan Day. The piano part is integral to the piece. Feature some of your orchestra members singing the lyrics together with the orchestra, or invite members of the choir to join with the orchestra! Great fun for all, especially at Halloween, this one will stick in their heads. Find out who is this ghost in the living room! (2:35).

Orchestra - Grade 2

SKU: AP.40479S

Arranged by Thom Sharp. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Dance. Christmas; Novelty; Secular; Traditional; Winter. Score. 12 pages. Highland/Etling #00-40479S. Published by Highland/Etling (AP.40479S).

UPC: 038081454436. English. Traditional.

Spiced up with lots of hand percussion parts, this fun-to-play arrangement of a Christmas classic dances its way through Latin, waltz, disco, and rock styles, all in first position. Every section gets multiple turns at the melody, insuring that all of the students are noticed and challenged. Rhythms that may be unfamiliar or difficult are repeated throughout the arrangement, simplifying the rehearsal process.

Orchestra - Grade 2

SKU: AP.40479

Arranged by Thom Sharp. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Dance. Christmas; Novelty; Secular; Traditional; Winter. Score and Part(s). 140 pages. Highland/Etling #00-40479. Published by Highland/Etling (AP.40479).

UPC: 038081454429. English. Traditional.

Spiced up with lots of hand percussion parts, this fun-to-play arrangement of a Christmas classic dances its way through Latin, waltz, disco, and rock styles, all in first position. Every section gets multiple turns at the melody, insuring that all of the students are noticed and challenged. Rhythms that may be unfamiliar or difficult are repeated throughout the arrangement, simplifying the rehearsal process.

Orchestra - Grade 3

SKU: AP.29759

Arranged by Matt Turner. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Alternatives. Light Concert. Score and Part(s). 124 pages. Duration 3:30. Highland/Etling #00-29759. Published by Highland/Etling (AP.29759).

UPC: 038081319155. English.

A touch of Copland, a splash of Ives and a pinch of jazz harmony give this arrangement a contemporary but accessible sound. This lush arrangement of Foster's famous lullaby offers students the opportunity to experience chromaticism within beautiful moving lines and harmonies. A violin solo in the middle of the piece offers an improvisational flavor in Americana fashion. (3:30).

Orchestra - Grade 2

SKU: AP.41248S

Composed by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Christmas; Novelty; Secular; Winter. Score. 12 pages. Highland/Etling #00-41248S. Published by Highland/Etling (AP.41248S).

UPC: 038081480503. English.

Imagine four soloists playing eight Boomwhackers on the heads of eight brave audience members while being accompanied by string orchestra. That's the scenario of this hilarious show-stopper. Your audience will love hearing Jingle Bells, Good King Wenceslas, and Deck the Halls like never before. Used by the composer with his own orchestra and guest teachers, this simple yet highly effective novelty number never fails! Complete staging instructions are included. (2:00)
Correlates to String Explorer Book 1, Unit 13. This title is available in MakeMusic Cloud.

Orchestra - Grade 3

SKU: AP.48092

Composed by Richard Meyer. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score and Part(s). 128 pages. Duration 7:30. Highland/Etling #00-48092. Published by Highland/Etling (AP.48092).

UPC: 038081553948. English.

This emotional and heartfelt piece, From Darkness, Joyful Sounds Are Born, by Richard Meyer, is all about facing and overcoming the hardships we all encounter during our lifetime. It begins with a brief depiction of happy times and then descends into sounds of sadness and sorrow. Before long, joy emerges in the form of cheerful melodies, clapping, stomping, and singing, performed by the orchestra and the audience in a rousing call-and-response celebration. An amazing way to bring together everyone in the concert hall, this selection is sure to provide an unforgettable experience for your students and their audience! (7:30).

Orchestra - Grade 3

SKU: AP.48092S

Composed by Richard Meyer. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 24 pages. Duration 7:30. Highland/Etling #00-48092S. Published by Highland/Etling (AP.48092S).

UPC: 038081553955. English.

This emotional and heartfelt piece, From Darkness, Joyful Sounds Are Born, by Richard Meyer, is all about facing and overcoming the hardships we all encounter during our lifetime. It begins with a brief depiction of happy times and then descends into sounds of sadness and sorrow. Before long, joy emerges in the form of cheerful melodies, clapping, stomping, and singing, performed by the orchestra and the audience in a rousing call-and-response celebration. An amazing way to bring together everyone in the concert hall, this selection is sure to provide an unforgettable experience for your students and their audience! (7:30).

Orchestra (Full Score)

SKU: HL.244904

For Orchestra. Composed by Bryce Dessner. Music Sales America. Classical. Softcover. Composed 2017. 64 pages. Duration 1020 seconds. Chester Music #CH83985. Published by Chester Music (HL.244904).

8.25x12.0x0.508 inches.

Quilting, co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic, is my first stand alone work for orchestraand is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris.During my time there, I thought a lot about what it means to compose symphonic music as a young American in the 21st century, when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century. I began to think of the American crafts-tradition of quilting as a foilto the high-art tradition of European orchestral composition. As the score for my new work began to take shape, I started thinking about the manuscript itself as an object, its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great American tradition of quilting. I imagined about how conducting an orchestra can feellike stitching a piece together, or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries, the African-American quilting tradition is especially fascinating, and the quilts tell the stories of the women and communities who made them. The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder', 'drunkards path', 'solomon's puzzle', and (my favorite for its relevance to this piece) 'the road to California. - Bryce Dessner.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra - Grade 2.5

SKU: AP.38492S

Composed by Brendan Mcbrien. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 16 pages. Highland/Etling #00-38492S. Published by Highland/Etling (AP.38492S).

UPC: 038081433653. English.

With the same sparkle and energy of its predecessor, Adra's Dance, this new companion piece adds a touch of maturity as Adra's creator, the composer's daughter, has grown into a young lady. Celebrate where we are, where we're going, and how thankful we are to have this one life to live, love, and grow as your students and audiences enjoy the optimism and joy in this music.

Orchestra

SKU: BA.BA06861

Sinfonie (1923-1928). Composed by Leos Janacek. Arranged by Leoš Faltus and Miloš Štedron. This edition: complete edition, urtext edition. Linen. Complete Critical Edition of the Works of Leos Janacek H/3. Complete edition, Score, Set of parts. Duration 40 minutes. Baerenreiter Verlag #BA06861_00. Published by Baerenreiter Verlag (BA.BA06861).

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Orchestra - Grade 2.5

SKU: AP.47470S

Composed by Richard Meyer. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Halloween. Score. 16 pages. Highland/Etling #00-47470S. Published by Highland/Etling (AP.47470S).

ISBN 9781470656645. UPC: 038081541990. English.

This ode to the Wild West begins with a mysterious introduction using the folk song All the Pretty Little Horses in an eerie setting that will send shivers up the spines of performers and audience members alike. Brief solos for violin, viola, and cello are heard. The pace then picks up as we hear the driving and energetic theme of the Ghost Stallion riding through the moonlit countryside. The repeated galloping rhythm (eighth/two sixteenths) appears in stretches and is designed to improve your students' abilities to perform this all-important bowing pattern. This picturesque and educationally sound selection by Richard Meyer is sure to capture the imagination and improve the technique of everyone in both intermediate and more advanced orchestras. This title is available in MakeMusic Cloud.

Composed by Jeffrey S. Bishop. Orchestra. Full Orchestra; Score; SmartMusic. Highland Full Orchestra. Grade 4. 28 pages. Published by Highland/Etling

Orchestra - Grade 3

SKU: AP.4323

Composed by William Selby. Arranged by Art Sheinberg. MakeMusic Cloud; Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Fugue. Baroque; Masterwork Arrangement. Score and Part(s). 136 pages. Highland/Etling #00-4323. Published by Highland/Etling (AP.4323).

UPC: 038081026213. English.

Art Sheinberg has discovered a gem from the late English Baroque keyboard literature and expertly scored it to sound as if it were originally for strings. The violin ll and viola parts are often doubled, as are the cello and bass parts; there are essentially three parts throughout. This gives a full and balanced sound which accommodates uneven instrumentation. Violin l parts are in third position much of the time, and alternate fingerings given for the other parts will keep other advanced players busy. The piece is in D major throughout, with the exception of brief excursions into A and B minor. Full of rhythmic drive and sparkling counterpoint, the piece is a sure winner with students and an excellent vehicle to teach detached style and ensemble independence. This title is available in MakeMusic Cloud.

Orchestra - Grade 4

SKU: AP.33720S

Composed by Almon C. Bock II. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Dance; Rondo. Light Concert. Score. 24 pages. Highland/Etling #00-33720S. Published by Highland/Etling (AP.33720S).

UPC: 038081378015. English.

A frenetic pace characterizes this piece written in the true Italian style of the 6/8 couples dance. Thought to have been danced to ward off the effects of the bite of the tarantula spider, there's nothing that severe here---just a wonderful, percussive rondo. The piece features some lively syncopation and ends with an extended finish that gets more rousing with each passing measure. Your audiences will be tapping their feet from the opening measure, and your orchestra will want to play it over and over.

Orchestra - Grade 2

SKU: AP.31581S

Composed by Wolfgang Amadeus Mozart. Arranged by Andrew H. Dabczynski. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Form: Transcription. Classical; Masterwork Arrangement. Score. 12 pages. Highland/Etling #00-31581S. Published by Highland/Etling (AP.31581S).

UPC: 038081350776. English.

Mozart's Early Quartet collection is recognized as a crown of string chamber music. This accessible arrangement, from an arranger recognized for his careful and creative adaptations, is very true to the original. An interesting bass part has been added, and the more taxing rhythms, accidentals and embellishments have been simplified. Playable by younger players, yet advanced students also will find this piece delightfully satisfying---even challenging---when played at a faster tempo. Here's a centerpiece for any string orchestra concert program! Correlates with String Explorer Book One, unit 13. This title is available in MakeMusic Cloud.

Orchestra - Grade 2.5

SKU: AP.45889S

Arranged by Jim Palmer. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Sacred; Traditional; Winter. Score. 12 pages. Duration 3:50. Highland/Etling #00-45889S. Published by Highland/Etling (AP.45889S).

UPC: 038081529684. English. Traditional.

A Child for Three Kings, a beautiful arrangement by Jim Palmer, combines Greensleeves and We Three Kings to create a Christmas concert selection that will be loved by students and audiences alike. All string parts are interesting and include both melodic and accompaniment figures. The rich harmonies and beautiful melodies will be a great addition to any holiday performance. (3:50).

Orchestra - Grade 2.5

SKU: AP.45889

Arranged by Jim Palmer. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Sacred; Traditional; Winter. Score and Part(s). 124 pages. Duration 3:50. Highland/Etling #00-45889. Published by Highland/Etling (AP.45889).

UPC: 038081529677. English. Traditional.

A Child for Three Kings, a beautiful arrangement by Jim Palmer, combines Greensleeves and We Three Kings to create a Christmas concert selection that will be loved by students and audiences alike. All string parts are interesting and include both melodic and accompaniment figures. The rich harmonies and beautiful melodies will be a great addition to any holiday performance. (3:50).

Orchestra - Grade 3

SKU: AP.46710

Composed by Bob Phillips. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Programmatic. Score and Part(s). 124 pages. Highland/Etling #00-46710. Published by Highland/Etling (AP.46710).

UPC: 038081539553. English.

An elegant, beautiful, sophisticated, and lyric piece in C Major, this new work includes melodic content for all, particularly the cellos. With opportunities for practicing shifting and developing musicality, it will suit any concert and is perfect for serious settings. Moment at Angels Landing by Bob Phillips provides great practice in 2nd and 3rd positions for violins and violas as well as 3rd and 4th positions for cellos and basses. There is some upper position work for the 1st violins---presented in divisi, so it is not required of all students. All students will have opportunities to work on a sustained and legato sound with connected bow strokes and sensitive phrasing.

Orchestra - Grade 3

SKU: AP.46710S

Composed by Bob Phillips. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 12 pages. Highland/Etling #00-46710S. Published by Highland/Etling (AP.46710S).

UPC: 038081539560. English.

An elegant, beautiful, sophisticated, and lyric piece in C Major, this new work includes melodic content for all, particularly the cellos. With opportunities for practicing shifting and developing musicality, it will suit any concert and is perfect for serious settings. Moment at Angels Landing by Bob Phillips provides great practice in 2nd and 3rd positions for violins and violas as well as 3rd and 4th positions for cellos and basses. There is some upper position work for the 1st violins---presented in divisi, so it is not required of all students. All students will have opportunities to work on a sustained and legato sound with connected bow strokes and sensitive phrasing.