Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
From Shakespeare's England. Composed by Nicholas Hare. Arranged by Nicholas Hare...(+)
From Shakespeare's
England. Composed by
Nicholas Hare. Arranged
by Nicholas Hare.
Playstrings. Classical.
Book Only. Composed 2005.
16 pages. Chester Music
#MUSCH55340. Published by
Chester Music
Rockin' Ol' St. Nick Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
Arranged by Michael Story and Michael Story. Orchestra. Part(s); Score; String O...(+)
Arranged by Michael Story
and Michael Story.
Orchestra. Part(s);
Score; String Orchestra.
Orchestra Expressions
Book 1. Christmas;
Novelty; Rock; Secular;
Winter. Grade 1. 80
pages. Published by
Alfred Music Publishing
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
The Rings of Saturn Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Michael Story and Michael Story. Orchestra. String Orchestra. Orchestra Expre...(+)
By Michael Story and
Michael Story. Orchestra.
String Orchestra.
Orchestra Expressions
Book 1. Grade 1.5.
Conductor Score and
Parts. 66 pages.
Published by Alfred Music
Publishing
The Sprint Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
(Full Score and Parts). By Alan Lee Silva. String orchestra. For String Orchestr...(+)
(Full Score and Parts).
By Alan Lee Silva. String
orchestra. For String
Orchestra. Carl Fischer
Concert String Orchestra
Series. Classical. Medium
Easy/Medium. Score and
Parts. Standard notation.
16 pages. Published by
Carl Fischer . Score and
Parts. classical.
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Andrew H. Dabczynski. Orches...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Arranged by Andrew H.
Dabczynski. Orchestra.
Masterworks; String
Orchestra.
Highland String
Explorer. Form:
Transcription. Classical;
Masterwork Arrangement.
Grade 2. Conductor Score
and Parts. 140 pages.
Published by Alfred Music
Publishing
(Featuring: Carols for Strings / In a Christmas Mood / DECKorations). Orchestra....(+)
(Featuring: Carols for
Strings / In a Christmas
Mood / DECKorations).
Orchestra. String
Orchestra. Alfred
Signature Performance
Series for Orchestra.
Christmas; Secular;
Traditional; Winter.
Grade 2. Conductor Score.
32 pages. Published by
Alfred Music Publishing
By Johann Stamitz (1717-1757). Arranged by Bob Phillips. Orchestra. Masterworks;...(+)
By Johann Stamitz
(1717-1757). Arranged by
Bob Phillips. Orchestra.
Masterworks; String
Orchestra. String
Orchestra. Baroque;
Classical; Masterwork
Arrangement. Grade 2.
Conductor Score and
Parts. 124 pages.
Published by Alfred Music
Publishing
Adagio and Presto Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire/avancé Highland/Etling
(From Symphony No. 101 in D Major ( The Clock )). Composed by Franz Josep...(+)
(From Symphony No. 101
in D Major ( The
Clock )). Composed by
Franz Joseph Haydn
(1732-1809). Arranged by
Robert Sieving.
Orchestra. Masterworks;
Part(s); Score;
SmartMusic; String
Orchestra. Highland
String Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement.
Grade 4. 124 pages.
Published by
Highland/Etling
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS43 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS43
Composed by Larry Clark.
Carl Fischer First Plus
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 8 pages. Carl
Fischer Music #FAS43.
Published by Carl Fischer
Music (CF.FAS43).
ISBN
9780825863387. UPC:
798408063382. 8.5 X 11
inches. Key: E
minor.
Titled by
the students of J. T.
Lambert Middle School in
East Stroudsburg, PA,
which commissioned the
original version for
band, this brilliant,
heavily accented piece
emphasizes rhythmic
alertness and attention
to dynamic contrasts.
Bold fanfare writing
alternates with lyrical
writing of considerable
warmth and the spiccato
style of playing is
introduced. The title
for Dance of the
Thunderbolts was
suggested by students at
J. T. Lambert Middle
School in East
Stroudsburg,
Pennsylvania. This piece
was originally
commissioned for the
sixth-grade band at the
school in 2003 and has
now been transcribed for
string orchestra. The
students specifically
asked for the piece to be
“a strong powerful
piece with lots of
accents and a strong
abrupt ending.†As
you can see and hear, the
piece contains many of
these aspects. After the
title was suggested I
came up with the
thunderbolt dance section
of the piece first stated
at m. 24. Later during
the compositional process
I decided to frame this
theme with a more lyrical
theme, but one that still
contains the sparkle of
the staccato ostinato
that is layered together
with the elongated theme.
Following the thunderbolt
dance at m.24 is a short
interlude to soften the
sound before a return of
the theme in fragments
traded between different
sections and in different
tessituras. The lyrical
theme returns and is
followed by “a
strong abrupt
ending†as
suggested by the
students. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your
program.—Larry
ClarkLakeland, FL
2007.
Classics for Contest Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
(Featuring: Overture from The Royal Fireworks Music / Hunter's Chorus fro...(+)
(Featuring: Overture from
The Royal Fireworks
Music / Hunter's
Chorus from Der
Freischutz /
Can-Can). Arranged by
Richard Meyer. Orchestra.
String Orchestra. Alfred
Signature Performance
Series for Orchestra.
Grade 1. Conductor Score
and Parts. 144 pages
(Featuring: But the Greatest of These... / A Quiet Music / Sheep May Safely Graz...(+)
(Featuring: But the
Greatest of These... / A
Quiet Music / Sheep May
Safely Graze). Arranged
by Douglas E. Wagner.
Orchestra. String
Orchestra. Belwin
Signature Performance
Series for Orchestra.
Grade 2. Conductor Score
and Parts. 156 pages
Classics for Contest Orchestre à Cordes [Conducteur] - Débutant Alfred Publishing
(Featuring: Overture from The Royal Fireworks Music / Hunter's Chorus fro...(+)
(Featuring: Overture from
The Royal Fireworks
Music / Hunter's
Chorus from Der
Freischutz /
Can-Can). Arranged by
Richard Meyer. Orchestra.
String Orchestra. Alfred
Signature Performance
Series for Orchestra.
Grade 1. Conductor Score.
24 pages. Published by
Alfred Music Publishing
Classics from Merle Isaac Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
(Featuring: The Apollo Suite / Quinto-Quinto Suite / Belvedere Suite). By Merle ...(+)
(Featuring: The Apollo
Suite / Quinto-Quinto
Suite / Belvedere Suite).
By Merle J. Isaac.
Orchestra. String
Orchestra. Alfred
Signature Performance
Series for Orchestra.
Grade 2. Conductor Score
and Parts. 448 pages.
Published by Alfred Music
Publishing
Concert Pieces for Teaching Beginning Strings. By Doris Gazda; Henry Purcell; Ja...(+)
Concert Pieces for
Teaching Beginning
Strings. By Doris Gazda;
Henry Purcell; James
Pierpont. Arranged by
Doris Gazda. String
orchestra. For Cello.
This edition: Cello part.
String Town Tunes.
Classical. Student Book.
16 pages. Published by
Carl Fischer. Level:
beginner.
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
Classical Symphony Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Arranged by Carrie Lane Gruselle. Orchestra. SmartMusic; String Orchestra. Strin...(+)
Arranged by Carrie Lane
Gruselle. Orchestra.
SmartMusic; String
Orchestra. String
Orchestra. Classical.
Grade 3. Conductor Score
and Parts. 124 pages.
Published by Alfred Music
Score and Parts
Classical
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
Arranged by Sandra Dackow. Performance Music Ensemble; Single Titles; String Orc...(+)
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk. Score. 12 pages.
Duration 1:30. Alfred
Music #00-45825S.
Published by Alfred Music
(AP.45825S).
From Divertimento No. 1, K. 136. Composed by Wolfgang Amadeus Mozart (1756-179...(+)
From Divertimento No. 1,
K.
136. Composed by Wolfgang
Amadeus Mozart
(1756-1791).
Arranged by Jan Farrar-
Royce. Masterworks;
Part(s);
Score; String Orchestra.
Belwin Concert String
Orchestra. Classical;
Masterwork Arrangement.
124
pages. Published by
Belwin
Music