By Robert Sieving. Orchestra. For string orchestra. String Tracks. Grade 3.5. Score and parts. Published by Neil A. Kjos Music Company

String Orchestra Orchestra - Grade 2.5

SKU: XC.ISO1903FS

Composed by Larry Clark. Intermezzo Orchestra Series. Classical, Acoustic. Score. Excelcia Music Publishing #ISO1903FS. Published by Excelcia Music Publishing (XC.ISO1903FS).

UPC: 812598031102. 9 x 12 inches.

Swan Dancing draws inspiration from the multitude of swans inhabiting the lake near the offices of Excelcia Music Publishing. Composer Larry Clark draws on these iconic birds to write a delightful, uplifting piece for string orchestra. With a nice lyrical B theme that shows off the musicianship of your orchestra, students and audiences alike will walk away humming this memorable melody. Swan Dancing is a joyful selection for any orchestral concert.

String Orchestra Orchestra - Grade 2.5

SKU: XC.ISO1903

Composed by Larry Clark. Intermezzo Orchestra Series. Classical, Acoustic. Set of parts. Excelcia Music Publishing #ISO1903. Published by Excelcia Music Publishing (XC.ISO1903).

UPC: 812598030501. 9 x 12 inches.

Swan Dancing draws inspiration from the multitude of swans inhabiting the lake near the offices of Excelcia Music Publishing. Composer Larry Clark draws on these iconic birds to write a delightful, uplifting piece for string orchestra. With a nice lyrical B theme that shows off the musicianship of your orchestra, students and audiences alike will walk away humming this memorable melody. Swan Dancing is a joyful selection for any orchestral concert.

Arranged by Richard Meyer. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Explorer. Folk. Part(s); Score. 130 pages. Duration 3:20. Highland/Etling #00-43821. Published by Highland/Etling (AP.43821).

String Orchestra Orchestra - Grade 2

SKU: XC.ISO2007

Composed by Ruth Elaine Schram. Intermezzo String Orchestra Series. Christmas and Holiday. Set of parts. Excelcia Music Publishing #ISO2007. Published by Excelcia Music Publishing (XC.ISO2007).

UPC: 812598034431. 9 x 12 inches.

Set in a clever waltz style, Ruth Elain Schram has set the well-known folk tune of Greensleeves for developing strings. This work is an easy and musical introduction into pizzicato playing, with all the lush arco sections that make greensleeves a timeless melody. Perfect for all occasions or on your next holiday concert.

String Orchestra Orchestra - Grade 1.5

SKU: XC.HSO2002

Composed by Sean O'Loughlin. Harmony String Orchestra Series. Christmas and Holiday. Set of parts. Excelcia Music Publishing #HSO2002. Published by Excelcia Music Publishing (XC.HSO2002).

UPC: 812598034233. 9 x 12 inches.

Introduce your students to 3/4 time with this clever mash-up of Christmas Carols in Waltz style. Each section has a turn to shine with the melody, perfect for parents to get a good shot of their little ones at their Christmas concert.

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 - medium easy

SKU: CF.CAS36

Composed by Traditional. Arranged by Roy Phillippe. Carl Fischer Concert String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS36. Published by Carl Fischer Music (CF.CAS36).

ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.

A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.
Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.

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 Richard Meyer. By Richard Meyer. For String Orchestra. String Orchestra. Highland String Orchestra. Conductor Score & Parts. Published by Alfred Publishing.
Level: 2.5 (grade 2.5).

(Gammal F�¤bodpsalm Dalarna). Arranged by Robert Sieving. Orchestra. Part(s); Score; String Orchestra. Highland String Orchestra. Folk; Multicultural. Grade 3. 78 pages. Published by Highland/Etling

(A Fun Irish Twist to a Well-known Melody Leading into Tam Lyn ). Arranged by Crystal Plohman. Orchestra. Score; String Orchestra. Highland String Alternatives. Folk; Light Concert. Grade 3. 16 pages. Published by Highland/Etling

Orchestra string orchestra - Grade 3.5

SKU: KJ.SO279F

Composed by Robert Sieving. String Tracks. Score. Neil A. Kjos Music Company #SO279F. Published by Neil A. Kjos Music Company (KJ.SO279F).

This gorgeous, well-loved Swedish folk song features a tender and unforgettable melody. You'll even find your students whistling this enchanting tune outside of class. A real gem! Full Score.

By Francis Osentowski. For orchestra. FJH String Orchestra. Grade 4. Score. Composed 2010. 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

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

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS19

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #YAS19. Published by Carl Fischer Music (CF.YAS19).

ISBN 9780825854859. UPC: 798408054854. 8.5 X 11 inches. Key: D major.

Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yetA legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerfulA divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.

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

By Keith Sharp. Arranged by Keith Sharp. Beginning String Orchestra. FJH Beginning Strings. Flexible scoring provides separate melody and harmony parts for the celli and basses so you can challenge your stars while encouraging your less experienced students with parts that are easier to play. The arrangement also works with melody and piano accompaniment alone. Also included are optional lyrics for you to get the school choir involved! Score for this title: ST6056S. Extra part for this title: ST6056P. String Orchestra. Level: 1. Score and Set of Parts. Published by The FJH Music Company Inc.

Melody Book for Strings. By Edward Elgar; Felix Mendelssohn; Frederic Chopin; Georges Bizet; Igor Fyodorovich Stravinsky; Maurice Ravel; Peter Ilyich Tchaikovsky; Pietro Mascagni. Arranged by Dorothy A. Straub; Robert Genualdi. String ensemble. For Violin, Viola, Cello, Double Bass, Piano. Classical. Full Score - Large. 36 pages. Published by Carl Fischer.

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

Arranged by Douglas E. Wagner. Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Form: Medley. Christmas; Sacred; Secular; Winter. 72 pages. Published by Belwin Music (AP.45820).

By Bob Phillips. For String Orchestra. String Orchestra. Belwin Intermediate String Orchestra. Level: 3 (grade 3). Conductor Score and Parts. 144 pages. Published by Alfred Publishing.

By Peter Ostroushko. Arranged by Bob Phillips. Music by Peter Ostroushko / arr. Bob Phillips. For String Orchestra. String Orchestra. String Alternatives. Conductor Score. 12 pages. Published by Alfred Publishing.

(A Dream Fulfilled). By Bob Phillips. Orchestra. Part(s); Score; SmartMusic; String Orchestra. Highland String Orchestra. Grade 3. 124 pages. Published by Alfred Music

(A Dream Fulfilled). By Bob Phillips. Orchestra. Score; SmartMusic; String Orchestra. Highland String Orchestra. Grade 3. 12 pages. Published by Alfred Music

By Elliot Del Borgo. Orchestra. Level: Grade 2. Music Book. Published by Neil A. Kjos Music Company.

Composed by Ludwig van Beethoven (1770-1827). Arranged by Ben Clinesmith. Early Achievement Series. A charming string orchestra arrangement of the last movement of Beethoven's Trio in G Major. Classical. Score and Parts. Wingert-Jones Publications #3036091. Published by Wingert-Jones Publications