Knick Knock Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
For string orchestra (88555) with optional 3rd Violin/Viola TC (3) and piano. St...(+)
For string orchestra
(88555) with optional 3rd
Violin/Viola TC (3) and
piano. Standard string
orchestra (88555) with
optional 3rd Violin/Viola
TC (3) and piano.
Playground String
Orchestra series. Grade
1. Score and parts.
Published by Kendor Music
Inc
Airplane Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
By Michael Hopkins. For string orchestra (88555) with optional 3rd violin/viola ...(+)
By Michael Hopkins. For
string orchestra (88555)
with optional 3rd
violin/viola TC (3
copies) and piano.
Playground String
Orchestra Series. Grade
1. Score and set of
parts. Duration 2
minutes, 25 seconds.
Published by Kendor Music
Inc
The Trout (Movement IV) Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
(Die Forelle). By Franz Schubert (1797-1828). Arranged by John Caponegro. For st...(+)
(Die Forelle). By Franz
Schubert (1797-1828).
Arranged by John
Caponegro. For string
orchestra (88555) with
optional 3rd violin/viola
TC (3 copies) and piano.
Playground String
Orchestra Series. Grade
1.5. Score and set of
parts. Duration 1 minute,
55 sec
Aeolian Rock Orchestre à Cordes - Débutant Kendor Music Inc.
Composed by Frizzi. For standard string orchestra (88555) with opt. 3rd Violin/V...(+)
Composed by Frizzi. For
standard string orchestra
(88555) with opt. 3rd
Violin/Viola TC (3) and
piano. Playground String
Orchestra. Grade 1.
Published by Kendor Music
Inc
Greensleeves Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
By Traditional. Arranged by John Caponegro. For string orchestra (88555) with op...(+)
By Traditional. Arranged
by John Caponegro. For
string orchestra (88555)
with optional 3rd
Violin/Viola TC (3) and
piano. Standard string
orchestra (88555) with
optional 3rd Violin/Viola
TC (3) and piano.
Playground String
Orchestra series. Grade
1.5. Score and parts.
Published by Kendor Music
Inc
Song Of Peace Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
(Lo Yisa Goy). Composed by Traditional. Arranged by Deborah Baker Monday. For ...(+)
(Lo Yisa Goy). Composed
by
Traditional. Arranged by
Deborah Baker Monday. For
string orchestra (88555)
with
optional 3rd violin/viola
TC
(3) and piano. Playground
String Orchestra Series.
Grade
1. Score and set of
parts.
Duration 2 minutes, 50
seconds. Published by
Kendor
Music Inc
Bug's Ballroom Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
Composed by Frank Halferty. For string orchestra (88555) with optional 3rd violi...(+)
Composed by Frank
Halferty. For string
orchestra (88555) with
optional 3rd violin/viola
TC (3 copies) and piano.
Playground String
Orchestra Series. Grade
1. Score and set of
parts. Duration 3
minutes, 20 seconds.
Published by Kendor Music
Inc
Credo Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
By Frank Halferty. For string orchestra (88555) with optional 3rd violin/viola T...(+)
By Frank Halferty. For
string orchestra (88555)
with optional 3rd
violin/viola TC (3) and
piano. Playground String
Orchestra Series. Grade
1.5. Score and set of
parts. Duration 2
minutes, 55 seconds.
Published by Kendor Music
Inc
Marche Oriental Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
By Elliot Del Borgo. For string orchestra (88555) with optional 3rd violin/viola...(+)
By Elliot Del Borgo. For
string orchestra (88555)
with optional 3rd
violin/viola TC (3) and
piano. Playground String
Orchestra Series. Grade
1.5. Score and set of
parts. Duration 2
minutes, 40 seconds.
Published by Kendor Music
Inc Score and Parts
(From The Nutcracker). By Peter Ilyich Tchaikovsky (1840-1893). Arranged by John...(+)
(From The Nutcracker). By
Peter Ilyich Tchaikovsky
(1840-1893). Arranged by
John Caponegro. For
string orchestra (88555)
with optional 3rd
violin/viola TC (1) and
piano. Playground String
Orchestra Series. Grade
1.5. Score and set of
parts. Duration 2
minutes. Published by
Kendor Music Inc
Sequential Repertoire for Solo Strings or String Ensemble (Piano / Score). ...(+)
Sequential Repertoire for
Solo Strings or String
Ensemble (Piano / Score).
Composed by Winifred
Crock,
William Dick, and Laurie
Scott.
Method/Instruction;
Score; String Orchestra
Method/Supplement;
Suzuki.
64 pages. Published by
Alfred Music
Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
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
Concerto Miniatures Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Wingert-Jones Publications
(for Piano and String Orchestra). Composed by Various. Arranged by Bud Cap...(+)
(for Piano and String
Orchestra). Composed by
Various. Arranged by Bud
Caputo. For piano and
string
orchestra. Concert Work.
Grade
3. Score and set of
parts.
Duration 8:46. Published
by
Wingert-Jones
Publications
(for Piano and String Orchestra). Composed by Various. Arranged by Bud Cap...(+)
(for Piano and String
Orchestra). Composed by
Various. Arranged by Bud
Caputo. For piano and
string
orchestra. Concert Work.
Grade
3. Conductor score.
Duration
8:46. Published by
Wingert-
Jones Publications
Arranged by Jack Bullock. Conductor's score and set of performance parts for str...(+)
Arranged by Jack Bullock.
Conductor's score and set
of performance parts for
string orchestra (8 - 1st
violin, 8 - 2nd violin, 5
- viola, 5 - cellow, 5 -
string bass, 1 - piano
accompaniment). Series:
Orchestra Expressions
Series. Published by
Alfred Publishing.
Arranged by Joseph Compello. For Violin I, Violin II, Violin III (Viola T.C.), V...(+)
Arranged by Joseph
Compello. For Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano,
Actors' Scripts. Carl
Fischer Beginning String
Orchestra Series. Grade
1. Score and parts.
Published by Carl Fischer
. Score and Parts.
Composed by Ludwig van Beethoven (1770-1827). Arranged by Ben Clinesmith. Ear...(+)
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
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString 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
By Matt Turner. For string orchestra (violin I, violin II, violin III (viola T.C...(+)
By Matt Turner. For
string orchestra (violin
I, violin II, violin III
(viola T.C.), viola,
cello, bass, drums,
piano). Score and parts.
Duration 3 minutes, 06
seconds. Published by
Carl Fischer
Antagonist Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
By Larry Clark. For Full Score, Violin I, Violin II, Violin III, Viola, Cello, B...(+)
By Larry Clark. For Full
Score, Violin I, Violin
II, Violin III, Viola,
Cello, Bass, Piano. Carl
Fischer Beginning String
Orchestra Series. Grade
1. Score and parts.
Published by Carl Fischer
Orchestra strings - beginner SKU: KJ.93F Composed by Albert L. Stoutamire...(+)
Orchestra strings -
beginner
SKU:
KJ.93F
Composed by
Albert L. Stoutamire and
Doris Gazda. String
method. Spotlight on
Strings Series. Score.
Neil A. Kjos Music
Company #93F. Published
by Neil A. Kjos Music
Company (KJ.93F).
ISBN
9780849733451.
Leve
l 2 builds on the
concepts introduced in
level 1 by opening with a
review of the major and
minor fingering patterns
on all four strings.
Attention throughout the
method is given to
presenting material that
makes use of the entire
tonal range of the
instrument in the first
position for the upper
strings, and the first
three positions for the
lower strings. Five
ensembles and two duets
round out Level 2.
Suitable for concerts,
the ensembles include
America; We Shall
Overcome; Amaryllis;
Surprise Symphony Theme;
and Military March.
Suitable for any class
size or instrumentation,
all string parts have the
melody and one harmony
part. The Teacher
Score/Keyboard books for
Levels 1 and 2 include
piano accompaniments for
much of the program music
and ensembles. Especially
composed for educators
with modest piano-playing
skills, the
accompaniments can also
be played by piano
students who wish to
become involved in the
ensemble experience.
Tumbleweed Blues Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kendor Music Inc.
By Frueh. For standard string orchestra (88555) with opt. piano accompaniment. P...(+)
By Frueh. For standard
string orchestra (88555)
with opt. piano
accompaniment. Playground
String Orchestra Series.
Grade 1. Score and set of
parts. Duration 2
minutes, 30 seconds.
Published by Kendor Music
Inc
Score Only.
Composed by Gary Fagan.
Series; String Orchestra.
FJH Developing Strings.
Light Concert; Novelty.
Score. Duration 2:15. The
FJH Music Company Inc
#98-ST6419S. Published by
The FJH Music Company Inc
(FJ.ST6419S).
English.
Show
your great sense of humor
with this novelty piece
that winds up creating
near chaos in your
ensemble! When the first
violins join a local
branch of the String
Players Union, the other
musicians and director
soon learn that the union
members must adhere to
some hilarious
performance guidelines.
Accommodations include
playing only some notes,
giving the left hand a
rest and even left hand
free time! Staging
possibilities are endless
- this piece is easy to
put together and is
guaranteed to bring a
smile to everyone in the
hall!
About FJH
Developing
Strings
Sl
ightly more advanced than
Beginning Strings, this
series begins to involve
more position work and a
slightly more complex
rhythmic figures.
Rehearsal piano is often
provided. Ideal for
middle school and smaller
high school programs.
Grade 2 - 2.5
By Johann Sebastian Bach (1685-1750). Arranged by Bob Lipton. Orchestra. Masterw...(+)
By Johann Sebastian Bach
(1685-1750). Arranged by
Bob Lipton. Orchestra.
Masterworks; Score;
String Orchestra.
Highland String
Orchestra. Form:
Transcription. Baroque;
Masterwork Arrangement.
Grade 2.5. 8 pages.
Published by Alfred Music
Publishing
By Johann Sebastian Bach (1685-1750). Arranged by Bob Lipton. Orchestra. For str...(+)
By Johann Sebastian Bach
(1685-1750). Arranged by
Bob Lipton. Orchestra.
For string. Masterworks;
Part(s); Score; String
Orchestra. Highland
String Orchestra. Form:
Transcription. Baroque;
Masterwork Arrangement.
Grade 2.5. 62 pages.
Published by Alfred Music
Publishing