By Sara Bongo and Robert Moore. Orchestra. Part(s); Score; String Orchestra. Highland String Orchestra. Form: Waltz. Grade 2. 124 pages. Published by Alfred Music

((from Suite for Variety Stage Orchestra)). By Dmitri Shostakovich (1906-1975). Arranged by Paul Lavender. Score and Parts. String Orchestra. Grade 3-4. Published by G. Schirmer

By Piotr Ilyich Tchaikovsky [Peter Ilyich Tchaikovsky]. Arranged by Andrew H. Dabczynski. Orchestra. Masterworks; Part(s); Score; String Orchestra. Highland String Explorer. Form: Transcription; Waltz. Masterwork Arrangement; Romantic. Grade 2. 72 pages.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

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 Emile Waldteufel (1837-1915). Arranged by Andrew Balent. String ensemble. For String Orchestra. Carl Fischer First Plus String Orchestra Series. Classical. Grade 1.5-2. Score and Parts. Standard notation. 8 pages. Published by Carl Fischer

(La plus que lente). Composed by Claude Debussy (1862-1918). Arranged by Matthew Moreno. For string orchestra. FJH String Orchestra. Grade 4. Score and parts. Duration 2 minutes, 45 seconds. Published by The FJH Music Company Inc

(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

Arranged by Jerry Brubaker. Arr. Jerry Brubaker. For Full Orchestra. Full Orchestra. Belwin Intermediate Full/String Orchestra. Level: 2 (grade 2). Conductor Score and Parts. Duration 3:18. 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.

By Juventino Rosas. Arranged by Robert Longfield. Intermediate String Orchestra. FJH Developing Strings. Score for this title: ST6106S. Extra part for this title: ST6106P. String Orchestra. Level: 2.5. Score and Set of Parts. Published by The FJH Music Company Inc.

Composed by Doug Spata. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. Form: Waltz. Fall; Halloween. 62 pages. Published by Highland/Etling (AP.44834).

Composed by Doug Spata. Score; String Orchestra. Highland/Etling String Orchestra. Form: Waltz. Fall; Halloween. 8 pages. Published by Highland/Etling (AP.44834S).

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Mark Weston, scored by Douglas E. Wagner. Orchestra. For strings w/ vln 3. Masterworks; Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Christmas; Light Concert; Masterwork Arrangement; Novelty; Romantic; Winter. Grade 2.5. 144 pages. Published by Belwin Publishing

Orchestra String Orchestra - Grade 2

SKU: FJ.ST6430S

Score Only. Composed by Chris Thomas. Series; String Orchestra. FJH Developing Strings. Score. Duration 1:40. The FJH Music Company Inc #98-ST6430S. Published by The FJH Music Company Inc (FJ.ST6430S).

English.

This elegant waltz conjures images of a masquerade ball set in stately 18th century Europe. One can imagine ballroom dancers gliding about as the delightful melody passes throughout the sections in a very organic way. The piece features easy low 1 fingerings and the opportunity to perform in the classical style.

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

Orchestra String Orchestra - Grade 2

SKU: FJ.ST6430

Composed by Chris Thomas. Series; String Orchestra. FJH Developing Strings. Form: Dance. Score and Part(s). Duration 1:40. The FJH Music Company Inc #98-ST6430. Published by The FJH Music Company Inc (FJ.ST6430).

UPC: 241444378052. English.

This elegant waltz conjures images of a masquerade ball set in stately 18th century Europe. One can imagine ballroom dancers gliding about as the delightful melody passes throughout the sections in a very organic way. The piece features easy low 1 fingerings and the opportunity to perform in the classical style.

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

For String Orchestra. Composed by Dmitri Shostakovich (1906-1975). Arranged by Lauren Keiser. Southern Music. Classical. Softcover. Southern Music Company #SO125C. Published by Southern Music Company

By Franz Xavier Gruber. Arranged by Ralph Ford. By Franz Xavier Gruber / arr. Ralph Ford. For String Orchestra. String Orchestra. Belwin Beginning String Orchestra. Level: 2 (Red) (grade 2 Red). Conductor Score and Parts. Published by Alfred Publishing.

La plus que lente. Composed by Claude Debussy (1862-1918). Arranged by Matthew Moreno. String Orchestra. FJH String Orchestra. Score only. Full Set (score and parts) also available: ST6356. Score only. Duration 2 minutes, 45 seconds. Published by The FJH Music Company Inc (FJ.ST6356S).

Composed by Joseph Compello. String orchestra. For Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Percussion (Bells Opt.), Piano. Carl Fischer First Plus String Orchestra Series. Grade 1.5-2. Score and parts. Published by Carl Fischer

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

Arranged by Bob Lipton. For string orchestra. FJH String Orchestra. Full set (score and parts). Score only also available: ST6248S. Grade 3. Score and parts. Duration 2 minutes, 45 seconds. Published by The FJH Music Company Inc

Arranged by Bob Lipton. For string orchestra. FJH String Orchestra. Score only. Full set (score and parts) also available: ST6248. Grade 3. Score only. Duration 2:45. Published by The FJH Music Company Inc

String Orchestra Orchestra - Grade 2

SKU: XC.ISO2007

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

UPC: 812598034431. 9 x 12 inches.

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