By Harold Arlen. Arranged by Bob Cerulli. By Harold Arlen / arr. Bob Cerulli. For String Orchestra. String Orchestra. Beginning String Orchestra. Level: Very Easy (grade I). Conductor Score and Parts. 54 pages. Duration 2:22. Published by Alfred Publishing.

Arranged by Michael Story. Arr. Michael Story. For String Orchestra. String Orchestra. Belwin Beginning String Orchestra. Level: 1 (grade 1). Conductor Score and Parts. 32 pages. Duration 2:22. Published by Alfred Publishing.

Composed by Antonin Dvorak (1841-1904). Edited by Robin Tait. For string orchestra (2 violins/viola/cello/doubl e bass). This edition: urtext edition. Paperback. Level 3. Score. Opus 22. Published by Baerenreiter Verlag

Orchestra string orchestra - Grade 4

SKU: KJ.SO389F

Composed by Jeremy Woolstenhulme. String Tracks XVIII. Score. Neil A. Kjos Music Company #SO389F. Published by Neil A. Kjos Music Company (KJ.SO389F).

UPC: 8402704821.

Serenade for Strings, Op. 22, First Movement is presented in its entirety in G Major, making it wonderfully accessible to less advanced ensembles. A staple in classical string orchestra literature, this is not to be missed! This Woolstenhulme arrangement belongs in all school libraries.

String orchestra - intermediate to advanced

SKU: HL.49002063

Composed by Harald Genzmer. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1953. 22 pages. Duration 14' 50''. Schott Music #CON 62. Published by Schott Music (HL.49002063).

ISBN 9790001022170. UPC: 884088097813. 9.0x12.0x0.098 inches.

Harald Genzmer's composition Divertimento di danza for string orchestra clearly continues the baroque form of the divertimento. This light music * in the truest sense of the word * consisted of a sequence of loose movements with free forms and dance movements alternat-ing in varied succession. The divertimento comprised five to six movements. Genzmer kept to all these facts but he brought new life into the old forms. Though he did not compose in the old style, he respected certain rules of the traditional form. Ouverture * Allegro (Fugato) * Adagio * Presto (on an Old French dance) * Finale (on an English dance movement).

By Elliot Del Borgo. Cadet String Orchestra. Level: Grade 2. Published by Kendor Music Inc.

Orchestra string orchestra - Grade 3.5

SKU: KJ.SO393C

Composed by Jeremy Woolstenhulme. Music book. Neil A. Kjos Music Company #SO393C. Published by Neil A. Kjos Music Company (KJ.SO393C).

UPC: 8402704886.

For String Orchestra. By Alexander Goehr. (Full Score). Schott. 22 pages. Published by Schott.

String Orchestra - Grade 1

SKU: KN.KAS2201

Composed by Steven L. Rosenhaus. Accent String Orchestra Series 1.0. Score and Parts. Kendor Music Inc #KAS2201. Published by Kendor Music Inc (KN.KAS2201).

12 x 9 inches.

Based on a theme by Franz Schubert. Arranged by Robert W. Smith. Score and set of parts. Published by Arco String Publications (CL.ARC-7022-00).

String Orchestra string orchestra (88555) with opt. 3rd Violin/Viola TC 3 and piano - Grade 2

SKU: KN.9461

Arranged by Deborah Baker Monday. Solo or Ensemble. Voyager String Orchestra. Score and parts. Kendor Music Inc #9461. Published by Kendor Music Inc (KN.9461).

UPC: 822795094619.

Brimm ing with intrigue and suspense, this exciting marriage of themes from The Barber of Seville with an iconic shark in the water motive will keep everyone on the edge of their seat. All Seville themes have been expertly adjusted for young students, and all recurring shark figures are well-fingered and easy to teach. A compelling thriller from start to finish! Duration 3:30.

Instrument ation: standard string orchestra (88555) with opt. 3rd Violin/Viola TC (3) and piano.

RV 397. Composed by Antonio Vivaldi (1678-1741). Arranged by Kabat. Published by Editions Marc Reift (MA.EMR-22827).

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS15

Composed by Traditional Holiday Song. Edited by Amy Rosen. Arranged by Bud Caputo. SWS FS. Carl Fischer Young String Orchestra Series. Score and Parts. With Standard notation. 16+2+4+16+10+10+3+10+12 pages. Carl Fischer Music #YAS15. Published by Carl Fischer Music (CF.YAS15).

ISBN 9780825851995. UPC: 798408051990. 8.5 X 11 inches. Key: D minor.

Lower strings be sure to maintain a steady pulse and dont rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 121. If the soloist is comfortable using third position, play mm. 119 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.
Lower strings be sure to maintain a steady pulse and donat rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1a21. If the soloist is comfortable using third position, play mm. 1a19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.
Lower strings be sure to maintain a steady pulse and don't rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1-21. If the soloist is comfortable using third position, play mm. 1-19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.
Lower strings be sure to maintain a steady pulse and don’t rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1–21. If the soloist is comfortable using third position, play mm. 1–19 and the first half of m. 20 one octave higher.All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance.String editing by Amy Rosen.

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

Orchestra String Orchestra - Grade 3

SKU: CF.CAS7

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.

By Johannes Brahms (1833-1897). Edited by Christopher Hogwood. For String Sextet. Study score (paperbound). Op. 36. Published by Baerenreiter Verlag

(For String orchestra). Composed by Georges Bizet (1838-1875). Arranged by Paul Angerer. For string orchestra. Orchestral music. Set of parts. Op. 22. Published by Doblinger Music Publishers

For String Orchestra. By Antonin Dvorak. (Study Score). Schott. Size 5.25x7.5 inches. 110 pages. Published by Eulenburg.

(For String orchestra). By Georges Bizet (1838-1875). Arranged by Paul Angerer. For string orchestra. Orchestral music. Score. Op. 22. 24 pages. Published by Doblinger Music Publishers . score.

String Orchestra String Orchestra - Grade 1

SKU: RU.UILS10122

Composed by Mickey Parra. Orchestra. UIL String Orch Sightreading Series. Score and Parts. RBC Publications #UILS10122. Published by RBC Publications (RU.UILS10122).

UIL String Orch Sightreading 2022 lev 1.

String Orchestra String Orchestra - Grade 0.5

SKU: RU.UILS00122

Composed by Mastien Crochett. Orchestra. UIL String Orch Sightreading Series. Score and Parts. RBC Publications #UILS00122. Published by RBC Publications (RU.UILS00122).

UIL String Orch Sightreading 2022 lev .5.

String Orchestra String Orchestra - Grade 1.5

SKU: RU.UILS30122

Composed by Aaron Fryklund. Orchestra. UIL String Orch Sightreading Series. Score and Parts. RBC Publications #UILS30122. Published by RBC Publications (RU.UILS30122).

UIL String Orch Sightreading 2022 lev 3.

String Orchestra String Orchestra - Grade 1

SKU: RU.UILS20122

Composed by Mickey Parra. Orchestra. UIL String Orch Sightreading Series. Score and Parts. RBC Publications #UILS20122. Published by RBC Publications (RU.UILS20122).

UIL String Orch Sightreading 2022 lev 2.

String Orchestra String Orchestra - Grade 2

SKU: RU.UILS40122

Composed by Kevin Sluder. Orchestra. UIL String Orch Sightreading Series. Score and Parts. RBC Publications #UILS40122. Published by RBC Publications (RU.UILS40122).

UIL String Orch Sightreading 2022 lev 4.

String Orchestra String Orchestra - Grade 1.5

SKU: RU.UILS30122S

Composed by Aaron Fryklund. Orchestra. UIL String Orch Sightreading Series. Score. RBC Publications #UILS30122S. Published by RBC Publications (RU.UILS30122S).

UIL String Orch Sightreading 2022 lev 3.

String Orchestra String Orchestra - Grade 1

SKU: RU.UILS10122S

Composed by Mickey Parra. Orchestra. UIL String Orch Sightreading Series. Score. RBC Publications #UILS10122S. Published by RBC Publications (RU.UILS10122S).

UIL String Orch Sightreading 2022 lev 1.

String Orchestra String Orchestra - Grade 0.5

SKU: RU.UILS00122S

Composed by Mastien Crochett. Orchestra. UIL String Orch Sightreading Series. Score. RBC Publications #UILS00122S. Published by RBC Publications (RU.UILS00122S).

UIL String Orch Sightreading 2022 lev .5.

String Orchestra String Orchestra - Grade 3

SKU: RU.UILS50122

Composed by Aaron Fryklund. Orchestra. UIL String Orch Sightreading Series. Score and Parts. RBC Publications #UILS50122. Published by RBC Publications (RU.UILS50122).

UIL String Orch Sightreading 2022 lev 5.

String Orchestra String Orchestra - Grade 2

SKU: RU.UILS40122S

Composed by Kevin Sluder. Orchestra. UIL String Orch Sightreading Series. Score. RBC Publications #UILS40122S. Published by RBC Publications (RU.UILS40122S).

UIL String Orch Sightreading 2022 lev 4.