String Ensemble,String Trio Cello,Violin - Level 3 - Digital Download SKU: A0.1499786 By Taco. By Irving Berlin. Arranged by Homco/Crinion. Broadway,Film/TV,Jazz,Musical/Show. 11 pages. Homco/Crinion #1075853. Published by Homco/Crinion (A0.1499786). This song by Irving Berlin was introduced in the musical film Puttin' On The Ritz of 1930. (The slang expression 'to put on The Ritz' means simply to dress very fashionably. This expression was inspired by The Ritz Hotel in London.)  With its catchy melody and timeless lyrics, the song reflects the glamor, grandeur and extravagance of the Roaring Twenties. It's a gas! An interesting fact: this was actually the first song in film ever to be sung by an interracial ensemble.

String Ensemble,String Trio Cello,Violin - Level 5 - Digital Download SKU: A0.1037151 By Taco. By Irving Berlin. Arranged by Judith Katz. Broadway,Film/TV,Jazz,Musical/Show,Pop. Score and parts. 7 pages. Judith Katz #642124. Published by Judith Katz (A0.1037151). Puttin' On The Ritz, by Irving Berlin has become a classic tune in the collective American literature. This song, used the film Young Frankenstein, is now available for string trio.

String Trio Cello,Violin - Level 5 - Digital Download SKU: A0.1221093 Composed by Irving Berlin. Arranged by Judith Katz. 20th Century,Film/TV. 9 pages. Judith Katz #817445. Published by Judith Katz (A0.1221093). A string trio arrangement of a classic song from the film, Follow The Fleet.  This Irving Berlin favorite is sure to be a favorite for your next cocktail party.

String Ensemble,String Trio Cello,Violin - Level 4 - Digital Download SKU: A0.844880 Composed by Alessandro Scarlatti. Arranged by Phil Beaman. Baroque,Opera,Standards. Score and parts. 6 pages. Phil Beaman #5954915. Published by Phil Beaman (A0.844880). The Italian Baroque composer Alessandro Scarlatti wrote Cara e Dolce as a Vocal Aria for his opera Fidalba e Oreste (ca 1679). It was originally written with just melody and a figured bass line. I have arranged it for an Instrumental Trio. I began by putting the original melody and bass line in place with minor changes. Then I realized a single inner voice according to the figured bass. Since there were no lyrics now, I needed to add interest musically. I next elaborated each of the lines with extra notes to create a more melodic line for each part. Then in several places I also elaborated the figured bass and used period chord substitutions to strengthen texture. Next I devised detailed new phrasing to create a more polyphonic feeling. Finally I decorated with numerous baroque ornaments and dynamics. Don't worry, all that effort was just to make it easy and fun for you to play and absolutely gorgeous. This piece is a fantastic addition to Baroque period repertoire.