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.

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.

Composed by Larry Neeck. String Orchestra. Arco String Publications. Score and parts. Composed 2017. Duration 2 minutes, 22 seconds. Published by Arco String Publications (CL.ARC-7050-00).

By Traditional. Arranged by Elliot Del Borgo. For string orchestra. Orchestra. FJH Beginning Strings. Score only. Full set (score and parts) also available: ST6026. Christmas. Grade 1. Score only. Duration 2 minutes, 22 seconds. Published by The FJH Music. Score only. Christmas.

(From Two Songs Without Words, Op. 22, No. 1). Composed by Gustav Holst (1874-1934). Arranged by Robert Sieving. Orchestra. Masterworks; Part(s); Score; SmartMusic; String Orchestra. Highland String Orchestra. Form: Transcription. 20th Century; Folk; Masterwork Arrangement; Romantic. Grade 4. 124 pages. Published by Highland/Etling

Composed by Bach/Gerald R. Doan. For String Orchestra. Grade 3. Set of Parts. Duration 4:50. Published by LudwigMasters Publications

Pizzicato Polka (from the ballet Sylvia) by Léo Delibes. Arranged by Mark Williams. Orchestra. String Orchestra. Strictly Strings Series. Impressionistic; Romantic. Grade 2. Conductor Score and Parts. 36 pages. Published by Alfred Music Publishing (AP.20569).

Composed by Donald Coakley. For string orchestra. Multiple Level String Orchestra Series. Grade 1. Duration "1'22""". Published by BRS Music

By Harold Arlen. Arranged by Bob Cerulli. By Harold Arlen / arr. Bob Cerulli. For String Orchestra. String Orchestra. Beginning String Orchestra. Level: 1 (grade 1). Conductor Score. Duration 2:22. Published by Alfred Publishing.

After the Sinfonia concertante K. 364. By Wolfgang Amadeus Mozart. Edited by Hogwood, Christopher. For Violin 1, Violin 2 , Viola 1, Viola 2 , Violoncello 1, Violoncello 2 /Contrabass. Set of Parts. Published by Baerenreiter-Ausgaben (German import). (BA9504 22)

By Carl Philipp Emanuel Bach (1714-1788). Edited by Redel, K. For flute and string orchestra with harpsichord ad libitum. Orchestra Set (3-3-2-2-1). Wotq. 22. Published by Thomi-Berg

By Johann Sebastian Bach (1685-1750). Arranged by Elizabeth Start. Orchestra. Part(s); Score; String Orchestra. Belwin Concert String Orchestra. Form: Fugue; Prelude. Baroque; Masterwork Arrangement. Grade 3.5. 124 pages. Published by Belwin Publishing