Orchestra String Orchestra - Grade 3.5

SKU: FJ.ST6145S

Score Only. Composed by Soon Hee Newbold. Series; String Orchestra. FJH String Orchestra. The constellation Equuleus means the Foal or Little Horse and lies between Pegasus and Delphinus. The original name may have been Equus Primus (First Horse) because it rises before Pegasus each evening. The origin of the name and story, however, h. Score. Duration 3:40. The FJH Music Company Inc #98-ST6145S. Published by The FJH Music Company Inc (FJ.ST6145S).

English.

Based on the small constellation Equuleus (The Foal or Little Horse), this rich symphonic work celebrates the life of a student originally from Poland who loved horses and had dreams of joining the air force. From riding horseback through the Polish landscape to flying over the beautiful Tatra Mountains onward to the stars, this moving work will take you on a thrilling and emotional journey.

Arranged by Carrie Lane Gruselle. American Folk Tune. For String Orchestra. String Orchestra. Highland String Orchestra. Folk Song. Level: 2.5 (grade 2.5). Conductor Score and Parts. Published by Alfred Publishing.

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 Rudolf Stephan. For String Orchestra. Orchestra. Level: Grade 2. Music Book. Published by Neil A. Kjos Music Company.

By Soon Hee Newbold. For orchestra. FJH Developing Strings. Full set (score and parts). Score only also available: ST6199S. Halloween. Grade 2.5. Score and set of parts. Composed 2009. Published by The FJH Music Company Inc

By Soon Hee Newbold. For orchestra. FJH Developing Strings. Score only. Full set (score and parts) also available: ST6199. Halloween. Grade 2.5. Score. Composed 2009. Published by The FJH Music Company Inc

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.

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5F

Composed by Joseph Compello. Carl Fischer Beginning String Orchestra Series. Full score. With Standard notation. 12 pages. Carl Fischer Music #BAS5F. Published by Carl Fischer Music (CF.BAS5F).

ISBN 9780825845093. UPC: 798408045098. 8.5 X 11 inches.

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

String Orchestra string orchestra (88555) with optional 3rd violin/viola TC (3) and percussion - Grade 2.5

SKU: KN.36315

Composed by David Bobrowitz. Solo or Ensemble. Voyager String Orchestra. Score and parts. Kendor Music Inc #36315. Published by Kendor Music Inc (KN.36315).

UPC: 822795363159.

It's winter and the sun has already set, but a bright moon allows the whiteness of the snow covered ground to show a clear path. Everyone is excited in anticipation of a fun evening gliding through the snow on a horse driven sleigh. Then we're off, and a catchy melody follows us as we ride through the winter night. Evening Sleigh Ride is a piece that is a perfect addition to your string orchestras Winter Concert. It will leave both performers and audience with an upbeat feeling to the start of their winter break. Set includes optional 3rd Violin/Viola T.C. and percussion parts.

Set includes optional 3rd Violin/Viola T.C. and percussion parts.

By Caponegro. Playground String Orch. Published by Kendor Music Inc.
Level: Grade 1.

(From Katy Perry's Album PRISM). Composed by Katy Perry, Max Martin, Lukasz Gottwald, Henry Walter, Sarah Hudson, and Jordan Houston. Arranged by Victor L�³pez. Orchestra. Score; String Orchestra. Pop Intermediate String Orchestra. Pop. Grade 2.5. 12 pages. Published by Alfred Music

(From Katy Perry's Album PRISM). Composed by Katy Perry, Max Martin, Lukasz Gottwald, Henry Walter, Sarah Hudson, and Jordan Houston. Arranged by Victor Lopez. Orchestra. Part(s); Score; String Orchestra. Pop Intermediate String Orchestra. Pop. Grade 2.5. 110 pages. Published by Alfred Music

By Soon Hee Newbold. Arranged by Soon Hee Newbold. String Orchestra. FJH String Orchestra. Score for this title: ST6027S. Extra part for this title: ST6027P. Level: 3.5. Published by The FJH Music Company Inc.

Orchestra String Orchestra - Grade 1

SKU: FJ.ST6450

Composed by Chris Thomas. MakeMusic Cloud; String Orchestra. FJH Beginning Strings. Christmas; Holiday Pops. Score and Part(s). Duration 2:00. The FJH Music Company Inc #98-ST6450. Published by The FJH Music Company Inc (FJ.ST6450).

UPC: 241444387894. English.

Imagine a horse-drawn sleigh coasting leisurely through the park with blanket-coated passengers in tow. This music features a bright melody, a sparkly glockenspiel part, and jingle bells to mimic the sound of the sleigh. The melody is passed around to multiple sections in this light-hearted, and very playable addition to any holiday program.

About FJH Beginning Strings

Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5

By John Williams. Arranged by Stephen Bulla. For String Orchestra (Score and Parts). Music for String Orchestra. Grade 3-4. Published by Hal Leonard

Orchestra String Orchestra - Grade 1

SKU: FJ.ST6450S

Score Only. Composed by Chris Thomas. Series; String Orchestra. FJH Beginning Strings. Holiday Pops. Score. Duration 2:00. The FJH Music Company Inc #98-ST6450S. Published by The FJH Music Company Inc (FJ.ST6450S).

English.

Imagine a horse-drawn sleigh coasting leisurely through the park with blanket-coated passengers in tow. This music features a bright melody, a sparkly glockenspiel part, and jingle bells to mimic the sound of the sleigh. The melody is passed around to multiple sections in this light-hearted, and very playable addition to any holiday program.

About FJH Beginning Strings

Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5

By Richard Meyer. Orchestra. For String Orchestra. String Orchestra. Highland String Orchestra. Fall; Halloween. 4 (grade 4). Score. 32 pages

Edited by Samuel Applebaum & Paul Paradise. For Score. String Orchestra Collection. The Best of.. Level: Medium-Advanced. Book. 76 pages. Published by Alfred Publishing.

Edited by Samuel Applebaum & Paul Paradise. For String Bass. String Orchestra Collection. The Best of.. Level: Medium-Advanced. Book. 36 pages. Published by Alfred Publishing.

Arranged by Bob Cerulli. Orchestra. Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Form: Medley. Masterwork Arrangement; Romantic. Grade 2.5. 144 pages. Published by Belwin Publishing

By Richard Meyer. Orchestra. String Orchestra. Highland String Orchestra. Fall; Halloween. Grade 4. Conductor Score and Parts. 124 pages

Orchestra String Orchestra - Medium Easy/Medium

SKU: CF.CAS34F

Composed by Sean O'Loughlin. SWS. Carl Fischer Concert String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #CAS34F. Published by Carl Fischer Music (CF.CAS34F).

ISBN 9780825861062. UPC: 798408061067. 8.5 X 11 inches. Key: E minor.

Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching. Nicely done!.
Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday- afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching.The opening of the piece sets the scene with danger and desperation. By m. 6, our hero is making his way on horseback to rescue the fair maiden. This main melody is developed and passed around the ensemble until m. 36, at which point despair sets in. The music is rich with romantic harmonies and inner lines. Be sure to bring out these inner lines to add to the passion and drama of the moment. It continues to build until a thunderous arrival at m. 49. From there we return to our hero, who is now getting close to the train tracks to save the fair maiden. The tension becomes the highest at m. 61, when we are still not sure if our hero will make it in time. But alas, at m. 68 he swoops in to save the day and rescue the fair maiden. Of course, they live happily ever after.My hope is that your ensemble will have some fun with this style of music. It was adapted from an arrangement I wrote for the new pipe organ at the Walt Disney Concert Hall in Los Angeles. They wanted some scary train music to show children how the organ was used back before movies had sound. Strings provide a heightened sense of drama with this genre of music.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

By Carrie Lane Gruselle. For String Orchestra. String Orchestra. Highland String Orchestra. Level: 2.5 (grade 2.5). Conductor Score and Parts. 64 pages. Published by Alfred Publishing.

Orchestra String Orchestra - Grade 1.5

SKU: FJ.ST6196S

Score Only. Composed by William Owens. Series; String Orchestra. FJH Beginning Strings. There are many varieties of carousels in the world, ranging from the well-known amusement park version with wooden horses or other animals to the simple playground version to which power is supplied manually. Several popular alternative names are roundab. Score. Duration 1:30. The FJH Music Company Inc #98-ST6196S. Published by The FJH Music Company Inc (FJ.ST6196S).

English.

Experie nce a whimsical carousel through the eyes of the young and young-at-heart! Playful melodies create the feeling of gliding through the air on your favorite animal. Melodies move seamlessly between upper and lower string voices, giving everyone an active role as the piece develops before the merry-go-round ends with a playful jolt. Lots of fun!

Arranged by Michael Story. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Folk. Part(s); Score. 80 pages. Duration 1:50. Belwin Music #00-45828. Published by Belwin Music (AP.45828).

By Aaron Copland. Arranged by John Moss. Boosey and Hawkes Orchestra. Size 9x12 inches. Published by Boosey & Hawkes.