(Featuring: Morning Mood / In the Hall of the Mountain King). Composed by Edvard Grieg (1843-1907). Arranged by Richard Meyer. Orchestra. Full Orchestra; Score. Highland First Philharmonic. Form: Transcription. Masterwork Arrangement; Romantic. Grade 2.5. 28 pages. Published by Highland/Etling

String Orchestra String Orchestra - Grade 2.5

SKU: XC.ISO2302

Composed by Larry Clark. Intermezzo. Set of parts. Excelcia Music Publishing #ISO2302. Published by Excelcia Music Publishing (XC.ISO2302).

9 x 12 inches.

Sprites are imaginary creatures such as elves, pixies, imps, or fairies. Imagine these tiny little creatures having a joyous time frolicking and dancing about. This is the type of feel composer Larry Clark is looking for with this enjoyable little tune that is contrasted by a lush and lyrical B section – stunning!

String Orchestra String Orchestra - Grade 2.5

SKU: XC.ISO2302FS

Composed by Larry Clark. Intermezzo. Score. Excelcia Music Publishing #ISO2302FS. Published by Excelcia Music Publishing (XC.ISO2302FS).

9 x 12 inches.

Sprites are imaginary creatures such as elves, pixies, imps, or fairies. Imagine these tiny little creatures having a joyous time frolicking and dancing about. This is the type of feel composer Larry Clark is looking for with this enjoyable little tune that is contrasted by a lush and lyrical B section – stunning!

Arranged by Richard Meyer. Part(s); Score; String Orchestra. Highland/Etling String Explorer. Christmas; Sacred; Winter. 74 pages. Published by Highland/Etling

By Johann Sebastian Bach (1685-1750). Arranged by David Giardiniere. Orchestra. Part(s); Score; String Orchestra. Belwin Concert String Orchestra. Form: Transcription. Baptism; Baroque; Christ the King; Christmas; Easter; Fall; Masterwork Arrangement; Sacred; Spring; Winter. Grade 3.5. 132 pages. Published by Alfred Music Publishing

By Johann Sebastian Bach (1685-1750). Arranged by David Giardiniere. Orchestra. Score; String Orchestra. Belwin Concert String Orchestra. Form: Transcription. Baptism; Baroque; Christ the King; Christmas; Easter; Fall; Masterwork Arrangement; Sacred; Spring; Winter. Grade 3.5. 16 pages. Published by Belwin Publishing

(Music and Dance from the Tudor Court). Composed by Keith Sharp. Orchestra. Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Grade 1.5. 150 pages. Published by Belwin Music

Composed by Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland� String Explorer. Grade 1.5. 144 pages. Published by Highland/Etling

Arranged by Sean O'Loughlin. String orchestra. For violin I, violin II, violin III (viola TC), viola, cello, bass, piano. Score and parts. 94 12 pages. Duration 3 minutes. Published by Carl Fischer

Composed by Victor Lopez. Part(s); Score; String Orchestra. Belwin Very Beginning String Orchestra. Latin; Light Concert. 70 pages. Published by Belwin Music

Orchestra string orchestra - Grade 2.5

SKU: XC.ISO2204

Composed by Steve Parsons. Contest. Intermezzo. Contest. Score and set of parts. Excelcia Music Publishing #ISO2204. Published by Excelcia Music Publishing (XC.ISO2204).

12 x 9 inches.

A swirling vortex...a spinning clock going backwards and forwards...cities growing or shrinking in size before one's very eyes...these are the images of many a tale of temporal adventure throughout the ages. Take a trip through time with Composer Steve Parsons!

Orchestra string orchestra - Grade 2.5

SKU: XC.ISO2204FS

Composed by Steve Parsons. Contest. Intermezzo. Score. Excelcia Music Publishing #ISO2204FS. Published by Excelcia Music Publishing (XC.ISO2204FS).

12 x 9 inches.

A swirling vortex...a spinning clock going backwards and forwards...cities growing or shrinking in size before one's very eyes...these are the images of many a tale of temporal adventure throughout the ages. Take a trip through time with Composer Steve Parsons!

Arranged by Larry Moore. (Score and Parts). Easy Pops Specials For Strings. Published by Hal Leonard.

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.

By Blackwell. For Flexible String Ensemble (Book and CD). Published by Oxford University Press.

Orchestra String Orchestra - Grade 3

SKU: CF.CAS3

Composed by Doris Gazda. FS-SWS. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 20 pages. Carl Fischer Music #CAS3. Published by Carl Fischer Music (CF.CAS3).

ISBN 9780825844881. UPC: 798408044886. 8.5 X 11 inches. Key: D major.

A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.
A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playingA Willow-Wood Copse, you may wish to work on the studies that accompany the piece.
A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.
A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds.If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel.A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse.To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Score and Parts String Orchestra (Score and Parts) - Grade 1

SKU: HL.4493082

Composed by John Williams. Arranged by Robert Longfield. Easy Music For Strings. Movies. Softcover. Published by Hal Leonard (HL.4493082).

UPC: 196288182122.

Unlea sh awe-inspiring beauty of â??Theme from Jurassic Parkâ? with this enchanting string orchestra arrangement by Robert Longfield. John Williams' iconic score comes to life, allowing your orchestra to recreate the majestic wonder of prehistoric times. Elevate your performance with luch harmonies and captivating melodies that transport audiences to the heart of Jurassic Park. Perfect for young orchestras seeking a timeless cinematic experience, this arrangement promises to captivate and inspire, making your performance a Jurassic journey like never before.

By Edvard Grieg. Arranged by John Cacavas. For String Orchestra. String Orchestra. Highland String Orchestra. Level: 2.5 (grade 2.5). Conductor Score. 8 pages. Published by Alfred Publishing.

String Orchestra - easy

SKU: BT.DHP-1094710-070

Arranged by Nicolaas Snel. De Haske String Orchestra Series. Set (Score & Parts). Composed 2009. 16 pages. De Haske Publications #DHP 1094710-070. Published by De Haske Publications (BT.DHP-1094710-070).

ISBN 9789043131865. 12 X 9 inches. English-German-French-Dut ch.

The De Haske String Orchestra Series offers attractive pieces especially composed and arranged for string orchestras. Students and teachers are treated to a great variety of musical styles. Each part presents a challenge to the player. The Viola part can be replaced by a 3rd Violin part, and the Double bass part can be replaced by a 2nd Cello part. The Piano part is mainly meant for support, but it occasionally adds new motifs as well.

Fiddle Tunes presents five traditional Irish fiddle tunes in easy arrangements.

De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.

Fiddle Tunes is een verzameling van vijf traditionele Ierse Fiddle Tunes in eenvoudige bewerkingen.

Die De Haske String Orchestra Series bietet attraktive, speziell fu r Streich­orchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.

Fiddle Tunes präsentiert fu nf traditionelle irische Fiddle Tunes in leichten Bearbeitungen.

< i>De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.

Fiddle Tunes contient cinq « fiddle tunes » (airs pour violon) irlandais.

De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. Ogni pubblicazione è accompagnata da un CD che contiene una versione demo dei brani. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Tracce Demo:1. Kerry Polka2. Fly Around3. Shady Grove4. Irish Washerwoman5. Pretty Little SallyPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come” nel menu.

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 Lauren Bernofsky (1967-). For narrator and string orchestra. FJH Beginning Strings. Score only. Full set (score and parts) also available: ST6192. Halloween. Grade 1. Score. Composed 2009

By Lauren Bernofsky (1967-). For narration and string orchestra. FJH Beginning Strings. Full set (score and parts). Score only also available: ST6192S. Halloween. Grade 1. Score and set of parts. Composed 2009

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

Orchestra string orchestra - Grade 1

SKU: KJ.SO206F

Composed by Robert Frost. Artistry in Strings. Score. Neil A. Kjos Music Company #SO206F. Published by Neil A. Kjos Music Company (KJ.SO206F).

This Frost original features 3/4 time and focuses on f-sharps and f-naturals. A perfect piece to reinforce the necessary finger patterns while preparing for performance.

About Artistry in Strings

Ar tistry in Strings is a groundbreaking string method that will be at home in your classroom or private studio. Its comprehensive approach contains all the basic tools necessary to establish solid technique and expressive music making. Artistry in Strings is a music educator's dream, combining a performance-centered approach with optional theory, composing, listening, assessment, and interdisciplinary and multi-cultural studies.

Authors Robert S. Frost, Gerald Fischbach, and Wendy Barden have combined their vast experience as educators to provide a string method that is well paced for all types of beginning string classes. Regardless of class frequency and duration, or class size and student age, Artistry in Strings will assist you to achieve superior results.

By Richard Meyer. For String Orchestra. String Orchestra. String Explorer. Conductor Score and Parts. 36 pages. Published by Alfred Publishing.
Level: 1.5 (grade 1.5).

By Antony Holborne, William Brade, Claude Gervaise, Thomas Ravenscroft, And John Dowland. Arranged by Andrew Dabczynski. Music by Antony Holborne, William Brade, Claude Gervaise, Thomas Ravenscroft, and John Dowland / arr. Andrew Dabczynski. For String Orchestra. String Orchestra. String Explorer. Level: 2 (grade 2). Conductor Score and Parts. Published by Alfred Publishing.