String Orchestra - Level 2 - Digital Download SKU: A0.1413601 Composed by Johann Sebastian Bach. Arranged by B. C. Dockery. Baroque,Christian,Easter,Religious,Sacred. 7 pages. Ben Dockery #995384. Published by Ben Dockery (A0.1413601). Harmonized by J. S. Bach in the St. Mathew Passion. Arranged for string orchestra or quintet: two violins, viola, cello, and bass. Great for preludes, offertories, postludes, lessons, and recitals. Especially well-suited for Lent and Easter services. Includes score and parts. Easy intermediate level.

String Orchestra - Level 3 - Digital Download SKU: A0.1197905 Composed by Hans Leo Hessler. Arranged by Johann Sebastian Bach and Joshua Choe. Baroque,Chamber,Classical,Easter,Sacred. Score and Parts. 17 pages. JMJ Arrangements #797078. Published by JMJ Arrangements (A0.1197905).

String Orchestra - Level 5 - Digital Download SKU: A0.942953 Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953). Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

String Orchestra - Level 2 - Digital Download SKU: A0.1420187 Composed by Various. Arranged by B. C. Dockery. Christian,Easter,Lent,Religious,Sacred. 75 pages. Ben Dockery #1001606. Published by Ben Dockery (A0.1420187). These classic Easter hymns have been arranged for string orchestra or quintet: two violins, viola, cello, and bass. Easy enough for early intermediate students to learn and for more advanced players to sight-read. Great for preludes, offertories, postludes, recitals, and lessons.  Are You Washed in the Blood?Down at the CrossHe Lives (I Know That My Redeemer Lives!)Jesus SavesO Sacred Head, Now WoundedO the Blood of JesusTell Me the Story of JesusThe Old Rugged CrossThere is a FountainWhen I Survey the Wondrous CrossIncludes scores and parts. 75 pages.

String Orchestra - Level 2 - Digital Download SKU: A0.1423145 Composed by Various. Arranged by B. C. Dockery. Christian,Easter,Lent,Religious,Sacred. 145 pages. Ben Dockery #1004478. Published by Ben Dockery (A0.1423145). These twenty classic Easter hymns have been arranged for string orchestra or quintet: two violins, viola, cello, and bass. Great for preludes, offertories, postludes, recitals, and lessons. Easy enough for early-intermediate students to learn and for more advanced players to sight-read. Includes scores and individual parts.Alleluia! Alleluia! (Ode to Joy) * Are You Washed in the Blood? * At the Cross * Christ Arose (Low in the Grave He Lay) * Christ the Lord is Risen Today * Crown Him With Many Crowns * Down at the Cross * He Lives (I know That My Redeemer Lives!) * I Stand Amazed in the Presence (How Marvelous) * Jesus Paid It All * Jesus Saves * Near the Cross * Nothing But the Blood * O Sacred Head, Now Wounded * O the Blood of Jesus * Tell Me the Story of Jesus * The Old Rugged Cross * There is a Fountain * Were You There * When I Survey the Wondrous Cross.

String Orchestra - Level 4 - Digital Download SKU: A0.1394384 Composed by Daniel Burwasser. 21st Century,Contemporary. 19 pages. Head and Stem #977866. Published by Head and Stem (A0.1394384). NOTES on Tears for a Dying PlanetTears for a Dying Planet paints a musical picture of a troubled world. It broadly expresses all of my pent-up fears, anger and frustrations which continue to lay heavily on my mind as our world descends into unsavory and uncharted territory. These problems run the gamut; endless military conflicts, threats of nuclear war, xenophobia, racism, anti-Semitism, science denial, steep political divisions, mass shootings, and not least by any means, climate change leading to extreme weather conditions across the globe.Tears for a Dying Planet is in a softly-played free form and contains several episodes which culminate into a forceful nine-note “death� chord representing grief and anger.  A single bar of recovery silence is offered honoring all who have suffered and continue to do so. --Daniel Burwasser NYC, February, 2024You can contact the composer directly at: danielburwasser9@gmail.comWebsite: https://www.danielburwasser.com/Youtube channel: https://www.youtube.com/channel/UCrCnkSRO-XOjUu7bMB8tzCg?view_as=subscriber

String Orchestra - Digital Download SKU: A0.1367626 Composed by Anonymous. Arranged by Joshua Choe and Lowell Mason. Advent,Christian,Christmas,Easter,Sacred. 11 pages. JMJ Arrangements #952001. Published by JMJ Arrangements (A0.1367626). Truro is the tune used for the Advent and Christmas hymn Lift Up Your Heads, Ye Mighty Gates and the Easter hymn Christ Is Alive! Let Christians Sing..

String Orchestra - Level 4 - Digital Download SKU: A0.1201464 By Vessela Stoyanova. By Vessela Stoyanova. Folk,Multicultural,World. Score and parts. 89 pages. Vessela Stoyanova #798931. Published by Vessela Stoyanova (A0.1201464). “Mountain Goats and Other Creatures� was Commissioned by Rachel Jayson and the Lexington High School Symphony Orchestra.It was inspired by the folk music of my native land of Bulgaria, informed by my experience as a rock musician, reimagined through the lense of my place inside of a community of like-minded artists and musicians, where I have made my real home today. The first movement - Mountain Goats - is a sort of celebration of renewal, promise, and hope. It represents the tenacious will of grass growing through the snow of early spring, the powerful longing for human connection, the warmth of the sun against your skin on a bright chilly day. It carries both the pristine optimism of youth, and the nervous energy of trying something for the first time. The second movement - Samodivi - in contrast is dark, heavy and full of passion and desire. According to Balkan myths, Samodivi are gorgeous nymphs who live in the woods and often seduce men with their beautiful song and dance. They are feared and envied at the same time. The music of the second movement represents the mysterious dark forest at night - lower strings create the moss under your feet, higher strings use extended techniques to simulate the noise of branches clicking the wind, a few soloists represent different creatures - both real and imaginary - scurry through the woods above your head. Then you hear the lone song of a Samodiva in the distance, your heart is beating hard, your steps are leading you straight towards the call against your better judgement. It is the ancient story of fear and desire, of self control and complete abandon. You, the listener, become witness to a wild dance, fire in the woods, snakes in their long blond hairs, slender bodies dressed in white clouds dancing to an imaginary beat.  Then it all ends abruptly and you left to wonder: Was it real? Did I see it? Am I safe?The third and final movement of the piece is based on a popular rhythmic folk dance in Bulgaria called Kopanitsa, while the melody creates a fugue between the different voices of the orchestra. The Kids are the little of the mountain goats - free to frolic high above tree line, above any human traces, as close to the clouds as one can get and still be touching the ground below. They are carefree, daring, and somewhat naive, yet safe under the watchful gaze of their parent. The movements ends in cascading repetitions of a musical motif in 5/8 representing the relentless passing of time or at least our perception of it.