String Orchestra - Level 2 - Digital Download SKU: A0.1383741 By Taylor Swift. By Jack Antonoff, Jahaan Akil Sweet, Mark Anthony Spears, Sam Dew, Taylor Swift, and Zoë Kravitz. Arranged by Troy Hanson. Contemporary,Pop,Singer/Songwriter. 29 pages. Troy J Hanson #968197. Published by Troy J Hanson (A0.1383741). Lavender Haze- Taylor Swift Orchestra ArrangementThis is an arrangement of Lavender Haze by Taylor Swift for Beginner Orchestra.The piece has been transposed to D Major.It is written in three parts Violin-Viola/Cello-BassThe Violins play on the G-D-A stringsHigh threes are needed for a C# on the G stringThe Viola and Cello play on the G-D-A strings A C# on the G string is needed.The Bass plays on all four strings pizzicato and arco.I hope you enjoy it!

String Orchestra - Level 3 - Digital Download SKU: A0.1074166 Composed by Alexander Glazunov. Arranged by Joel Jacklich (A.S.C.A.P.). Contest,Festival,Romantic Period,Wedding. Score and parts. 24 pages. Joel Jacklich #678447. Published by Joel Jacklich (A0.1074166). Alexander Glazunov’s Wedding Processional, Op. 21, (1889), here arranged for string orchestra by Joel Jacklich (A.S.C.A.P.), providing a new concert opportunity and a welcome change from the traditional Wagner and Mendelssohn when looking for wedding marches.

String Orchestra - Level 2 - Digital Download SKU: A0.1038947 Composed by Edward Elgar. Arranged by Joel Jacklich (A.S.C.A.P.)_. Romantic Period. Score and parts. 17 pages. Joel Jacklich #643905. Published by Joel Jacklich (A0.1038947). The theme from Elgar's Pomp and Circumstrance Military March, Op. 39, No.1 has long been a staple of graduation ceremonies throughout the United States. Here the theme is democratically rotated among the four members of the string orchestra (excluding the bass). The harmonies are simple enough for elementary students to handle. (Note: While the piece is in D major, accidentals do occur. All parts have both c-natural and c-sharp as well as g-natural and g-sharp. While the entire piece can be played in first position in all parts, an ossia part for cello is available for those players who are able to play in third and fourth position (for the melody in the upper octave) although this ossia part is entirely optional. With an unknown number of graduates marching, the piece may be repeated as many times as needed with the melody shifting from first violins, to violas, to second violins, to celli, over and over again, ending with a coda for a fuller finish.

String Orchestra - Level 3 - Digital Download SKU: A0.723098 Composed by Joel Jacklich (ASCAP). Contemporary. Score and parts. 24 pages. Joel Jacklich #2163289. Published by Joel Jacklich (A0.723098). Mitch Sturman asked me to compose a piece to commemorate our mutual friend, composer Elliot Del Borgo, who passed only a week after he had conducted his commissioned works at 2013's Concert of Premieres at Wilson Junior High  School in El Centro, CA.  The result was the Passacaglia and Fughetta in  Memoriam Elliot Del Borgo (1938-2013).     The two sections were originally conceived as two separate ideas, hoping one  would come to fruition. Both sections began to take root, so eventually the two  pieces were combined into a single piece.       At Mr. Sturman's suggestion, the passacaglia begins with the three initials of Mr.  Del Borgo.

String Orchestra - Level 3 - Digital Download SKU: A0.746694 Composed by Lew Pollack. Arranged by Keith Terrett. 20th Century,Folk,Jazz,Traditional. 26 pages. Keith Terrett #2856819. Published by Keith Terrett (A0.746694). Arrangement of That's a Plenty for String Orchestra. That’s a Plenty arranged for String Orchestra, is a 1914 ragtime piano piece composed by Lew Pollack. Lyrics by Ray Gilbert (born 1912) were added decades later. A number of popular vocal versions have been recorded, but the tune remains more performed as an instrumental. The composition started out as a rag, but is nowadays played as a part of the Dixieland jazz repertoire. The song has been recorded by numerous artists, and it is considered a jazz standard. The first recording was in 1917 by Prince’s Band, and the New Orleans Rhythm Kings recorded their rendition in 1923.Television comedian Jackie Gleason used it in his shows in the 1950s and 1960s. Among the hundreds of later recordings of this standard, particularly notable versions include: Freddy Martin and His Orchestra recorded a version of That’s A Plenty in 1950. Sheet music from the 1950 version featuring Freddy Martin on the cover has the lyrics printed inside. It was recorded by Albert Nicholas, clarinet, with The Big Chief Jazz Band in Oslo on August 29, 1955. Released on the 78 rpm record Philips P 53038. The Pollack and Gilbert song is not to be confused with a 1909 song of the same name by Henry Creamer and Bert Williams. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.

String Orchestra - Digital Download SKU: A0.1022594 Composed by Craig Michael Davis. 20th Century,Contemporary. Score and parts. 11 pages. Jack Harrison Inc. #50957. Published by Jack Harrison Inc. (A0.1022594). 'Re-Creation' Program Notes What is time, and where did it come from? These two questions consumed my thought process while writing Re-Creation. Upon completing the piece, I was no closer to answering those questions, but what I could answer became clear: could I write a piece in which time ceases to exist? In order to do this, I decided early on to throw out conventional notation that tends to restrict most performers. As my thought process evolved, I began contemplating the idea of juxtaposing the continuum of timelessness against the traditional view of time. Not only did this free me from the confines of a specific time, it opened up the entire spectrum of time, creating the possibility of infinity and the eternal existence of the continuity of time that invariably existed from the earliest sketches of this piece. The early sketches of this piece were written in my coastal Californian studio during the summer months of 2014, and because of this, Re-Creation represents not only a freedom of time, but also a sound world unique to California’s breathtaking coast. However, the impetus for this piece was the opening chapters of the book of Genesis, portraying the creation of the world in seven days. In this respect, the usage of three and seven play and important roll in the overall structure of this piece. Re-Creation was also inspired by a vacation I had taken a year before where I drove up the coast, stopping in small towns periodically, to collect poems from local authors. One collection of poems from Jeanie Greensfelder entitled, Biting the Apple, caught my attention. Reading through the poems, I began to realize that each poem was unique in that it marked a special time and place in the authors life, ultimately providing the reader with an autobiographical time capsule. The arch of the author’s life was thus on display for the world to read inevitably transforming her life, rather than her work, into the work of art. My hope for The Creation is that it portrays a snapshot of the Californian coast in which it was written, so that it can have a life of it’s own, free from the confines of it’s author and any concert hall it is performed in.