(Vocal Solo or B-Flat Trumpet Solo with String Orchestra (featuring: I Got Rhythm / Fascinating Rhythm / Strike Up the Band)). By George Gershwin and Ira Gershwin. Arranged by Douglas E. Wagner. Orchestra. For string w/ trumpet, voice, pno, drumset). Masterworks; Part(s); Score; String Orchestra. Pop Concert String Orchestra. Form: Medley. Light Concert; Masterwork Arrangement; Pop; Standard. Grade 4. 144 pages. Published by Alfred Music Publishing

(Vocal Solo or B-Flat Trumpet Solo with String Orchestra (featuring: I Got Rhythm / Fascinating Rhythm / Strike Up the Band)). By George Gershwin and Ira Gershwin. Arranged by Douglas E. Wagner. Orchestra. Masterworks; Score; String Orchestra. Pop Concert String Orchestra. Form: Medley. Light Concert; Masterwork Arrangement; Pop; Standard. Grade 4. 32 pages. Published by Alfred Music Publishing

By Soon Hee Newbold. Beginning String Orchestra. FJH Beginning Strings. Score for this title: ST6109S. Extra part for this title: ST6109P. String Orchestra. Level: 1. Score and Set of Parts. Published by The FJH Music Company Inc.

Arranged by Bert Ligon. For strings with optional rhythm section. Standard strings with optional rhythm section. Kendor Jazz Classics for String Orchestra Series. Grade 4. Score and parts. Duration 3 minutes 55 seconds. Published by Kendor Music Inc

By Ira Gershwin, George Gershwin. Arranged by Michael Story. Music and lyrics by George Gershwin and Ira Gershwin / arr. Michael Story. For String Orchestra. String Orchestra. Orchestra Expressions Book 1. Broadway. Level: 1 (grade 1). Conductor Score and Parts. 32 pages. Duration 1:39. Published by Alfred Publishing.

By Ira Gershwin, George Gershwin. Arranged by Michael Story. Music and lyrics by George Gershwin and Ira Gershwin / arr. Michael Story. For String Orchestra. String Orchestra. Orchestra Expressions Book 1. Level: 1 (grade 1). Conductor Score. 8 pages. Published by Alfred Publishing.

By Randy Sabien. Music by Randy Sabien. For String Orchestra. String Orchestra. String Alternatives. Jazz. Level: 4 (grade 4). Conductor Score and Parts. Published by Alfred Publishing.

By George Gershwin and Ira Gershwin. Arranged by Calvin Custer. By George and Ira Gershwin / arr. Calvin Custer. For String Orchestra. String Orchestra. Pop Concert String Orchestra. Level: grade III-IV. Conductor Score. 12 pages. Published by Alfred Publishing.

By George Gershwin. Arranged by Bert Ligon. For String Orchestra. String Orchestra. String Alternatives. Level: 3.5 (grade 3.5). Conductor Score. 20 pages. Published by Alfred Publishing.

By Ira Gershwin, George Gershwin. Arranged by Calvin Custer. By George and Ira Gershwin / arr. Calvin Custer. For String Orchestra. String Orchestra. Pop Concert String Orchestra. Broadway. Level: 3.5 (grade 3.5). Conductor Score and Parts. 170 pages. Duration 2:13. Published by Alfred Publishing.

By George Gershwin. Arranged by Bert Ligon. For String Orchestra. String Orchestra. String Alternatives. Broadway. Level: 3.5 (grade 3.5). Conductor Score and Parts. 130 pages. Published by Alfred Publishing.

By Richard Meyer. For String Orchestra. String Orchestra. Highland String Orchestra. Novelty. Level: 2 (grade 2). Conductor Score and Parts. 62 pages. Published by Alfred Publishing.

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.

Composed by Susan H. Day. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. 62 pages. Published by Highland/Etling

Composed by Loreta Fin. Orchestra. Part(s); Score; String Orchestra. Wilfin String Orchestra: Young String Ensemble Series. Grade 1. 128 pages. Published by Alfred Music

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS57

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Score and Parts. With Standard notation. 16+4+16+10+10+10+4+12 pages. Carl Fischer Music #YAS57. Published by Carl Fischer Music (CF.YAS57).

ISBN 9780825866890. UPC: 798408066895. 8.5 X 11 inches. Key: G major.

This is a sweeping new original composition in a subto Scottish style from popular composer Alan Lee Silva. Just another one of the pieces that always seem to flow effortlessly from his talented pen. This is an excellent piece for any contest or festival.
This Scottish-flavored, uptempo piece in has a lilting, jubilant-feel throughout. Highland Celebration is  built around two rhythmic subdivisions: two groups of three eighth notes per measure and three groups of two eighth notes per measure. Have the ensemble distinguish between the two subdivisions by tapping each one separately. Make an exercise of the rhythm in mm. 1–2 in Violin 1 to facilitate playing the different rhythms precisely: (1 2 3 - 4 5 6) and (1 2 - 3 4 - 5 6). Rehearsing four- to eightmeasure sections under tempo will aid in tightening these rhythms and solidifying pitch.The sections to concentrate on are: mm. 17–24 and mm. 33–40 to make sure that Violins I and II and Cello are playing together; mm. 33–40, to focus on the Violin 1 and Violin 2 unisons and couplings; and mm. 57–62, where the quarter-note subdivisions are emphasized. The piece is book-ended with the introduction material which always begins quietly and builds. The ensemble at m. 79 starts with tutti scalar figures and increases in intensity to the final accented measures at m. 83. Written in AABA form with a double bridge at m. 45, the overall feeling is dance-like and festive.

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

Composed by Gary Edwards. For string orchestra. Pathways Series. Grade 3. Full set. Duration 3 minutes, 45 seconds. Published by Imagine Music

By Sean O'Loughlin. For string orchestra. Carl Fischer Primer String Orchestra Series. Grade 0.5. Score and parts. Published by Carl Fischer

(Bass). By Bob Phillips and Kirk Moss. Orchestra. For Bass. This edition: Bass. Book; Method/Instruction; String Orchestra Method/Supplement. Sound Innovations Series for Strings. 56 pages. Published by Alfred Music Publishing

Orchestra String Orchestra - Grade 4

SKU: FJ.ST6327S

Score Only. Composed by Cathy Morris. Series; String Orchestra. FJH String Orchestra. Light Concert; Multicultural; Novelty. Score. Duration 4:30. The FJH Music Company Inc #98-ST6327S. Published by The FJH Music Company Inc (FJ.ST6327S).

English.

Transfo rm your orchestra into a Latin band with this burnin' jazz samba! Featuring solo violin (electric or acoustic) along with full rhythm section, this chart centers on a blues-like melody with traditional Latin rhythms. A solo section over a single chord lets your students shine in the world of improvisation, or consider bringing in a guest artist. Plenty of fun for both soloist and ensemble!

About FJH String Orchestra

More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up

Composed by Thom Sharp. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. Form: Rondo. 124 pages. Published by Highland/Etling (AP.44850).

By Sean O'Loughlin. For string orchestra. Carl Fischer First Plus String Orchestra Series. Grade 1.5-2. Score and parts. Published by Carl Fischer

By Brian Balmages. Beginning String Orchestra. FJH Beginning Strings. This fun-spirited fiddle tune begins with a unison statement of the theme, then gradually expands in harmony until the entire ensemble is into the groove. While the theme develops, the initial pizzicato in the low strings serves as the rhythm section of the group. Other members of the orchestra take over this rhythm section, including violas (and optional violin 3), stomping and clapping as the hoedown begins to roar. As is characteristic of much fiddle music, Hey Fiddle Fiddle! is based mostly on open 4ths and 5ths. These intervals become the focus of the piece at measure 49, where violins and violas trade phrases back and forth with low strings. One final build brings the tune back for a stirring conclusion. Score for this title: ST6120S. Extra part for this title: ST6120P. String Orchestra. Level: 1.5. Score and Set of Parts. Published by The FJH Music Company Inc.

By Susan H. Day. Orchestra. Part(s); Score; SmartMusic; String Orchestra. Highland String Orchestra. Form: March. Grade 1.5. 62 pages. Published by Alfred Music

Doppelkonzert. Composed by Arvo Part (1935-). World Premiere: in Tallinn / Estonia; by the Estonian Chamber Orchestra; conducted by Eri Klas. Study score. With Standard notation. Composed 1977. Duration 27 minutes. Universal Edition #UE31937. Published by Universal Edition