Digital Download

SKU: HX.428344

Composed by Michael Giacchino. Arranged by Robert Longfield. This edition: scorch. Classical,Film/TV. 2 pages. Duration 145. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.428344).

Level 1 - Digital Download

SKU: HX.394471

Arranged by Robert Longfield. This edition: scorch. Children,Disney,Film/TV. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.394471).

String Orchestra - Digital Download

SKU: A0.953154

Composed by Robert Carl. Contemporary. Score and parts. 21 pages. American Composers Alliance Inc. #4640481. Published by American Composers Alliance Inc. (A0.953154).

Scored for string orchestra. PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.

String Orchestra - Level 1 - Digital Download

SKU: A0.785987

Composed by Andrew R. Guarrine. Contemporary. Score and parts. 8 pages. GuarrineMusic #5731047. Published by GuarrineMusic (A0.785987).

Robert’s Harmonic Adventure  (Guarrine)

The real adventure will be when your beginners will be able to perform this with very little help from you.  Uses most of what they will learn during their first year. (D scale, repeats, down-bow/up-bow markings, forte and piano dynamics and of course, bow-lifts!)  Simple harmony.  An absolute must-have for your library.  

3-part orchestra   D major  Grade 1  

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 3 - Digital Download

SKU: A0.1017599

Composed by Jerome Kern. Arranged by Robert Renshaw. Contemporary. Score and Parts. 21 pages. Taggart Press #6167729. Published by Taggart Press (A0.1017599).

The groundbreaking Broadway Musical Showboat arguably changed the Broadway theater forever when it premiered in 1927. With music by Jerome Kern and a book and lyrics by Oscar Hammerstein II, the show deals with themes of racism, alcoholism, and spousal desertion at a time when social ills were not even a remote part of the typical Broadway fare. Kern's score was well received and contains many familiar songs like Ol' Man River. Make Believe, and Why do I love you?. But after Ol' Man River, It is probably the charming and poignant Bill that is most familiar to modern audiences. This arrangement gives the melody to a solo Alto Saxophone with a string accompaniment that preserves the early 20th-century feel of the original. It will work great on a pops concert, or as a lighter encore to a more serious saxophone concerto.

String Orchestra - Level 3 - Digital Download

SKU: A0.1271389

By Duke Ellington. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. Instructional,Jazz,Standards. 14 pages. Keith Terrett #863787. Published by Keith Terrett (A0.1271389).

C Jam Blues is a jazz standard composed in 1942 by Duke Ellington and performed by countless other musicians, such as Dave Grusin, Django Reinhardt, Oscar Peterson, and Charles Mingus, arranged here for String Orchestra.

As the title suggests, the piece follows a twelve-bar blues form in the key of C major. The tune is well known for being extremely easy to play, with the entire melody featuring only two notes: G and C.

A performance typically features several improvised solos. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.

It was also known as Duke's Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts.

Ellington's black and white film was produced in 1942. The video depicts a jam session where Ellington begins playing with a double bass before gradually being joined by other members of his band, among them drummer Sonny Greer and trumpeter Rex Stewart. The film title is Jam Session. Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between 1945 and 1947 as part of the Tiffany Transcriptions. Bill Doggett recorded a version on his 1958 tribute album Salute to Duke Ellington (King). C Jam Blues was used by the Bonzo Dog Doo-Dah Band as the basis of their song The Intro and the Outro. Mulgrew Miller and Niels-Henning Ørsted Pedersen included the song in their 1999 album The Duets. The Dave Brubeck Quartet performed this live at the 1958 Newport Jazz Festival; the recording appears in their album Newport 1958. YouTube Link https://www.youtube.com/watch?v=gOlpcJhNyDI.

String Orchestra - Level 4 - Digital Download

SKU: A0.1183534

Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 28 pages. ROBERT DEBBAUT #783207. Published by ROBERT DEBBAUT (A0.1183534).

How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.

Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.

At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,� or to marry outside his class.

There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.

As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour� [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.

The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia�) in that they have an overall “A-B-A� form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.� As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.� Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. 

If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.

String Orchestra - Level 4 - Digital Download

SKU: A0.1183533

Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 43 pages. ROBERT DEBBAUT #783206. Published by ROBERT DEBBAUT (A0.1183533).

How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.

Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.

At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,� or to marry outside his class.

There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.

As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour� [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.

The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia�) in that they have an overall “A-B-A� form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.� As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.� Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. 

If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.

String Orchestra - Level 4 - Digital Download

SKU: A0.1183535

Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 34 pages. ROBERT DEBBAUT #783208. Published by ROBERT DEBBAUT (A0.1183535).

How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.

Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.

At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,� or to marry outside his class.

There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.

As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour� [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.

The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia�) in that they have an overall “A-B-A� form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.� As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.� Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. 

If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.

String Orchestra - Level 4 - Digital Download

SKU: A0.1183537

Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 57 pages. ROBERT DEBBAUT #783210. Published by ROBERT DEBBAUT (A0.1183537).

How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.

Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.

At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,� or to marry outside his class.

There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.

As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour� [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.

The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia�) in that they have an overall “A-B-A� form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.� As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.� Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. 

If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.

String Orchestra - Level 4 - Digital Download

SKU: A0.1183536

Composed by Joseph Bologne, Chevalier de St. Georges. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Multicultural,World. 39 pages. ROBERT DEBBAUT #783209. Published by ROBERT DEBBAUT (A0.1183536).

How is it that one can be born a slave in French colonial Guadeloupe and rise to be among Paris’ musical giants, to become a colonel in the French Army as well as the frequent dinner guest of princes and potentates? The story of Joseph Bologne, Chevalier de Saint-Georges, is surely an interesting one, even the stuff of which movies are made.

Joseph Bologne’s father, Georges Bologne de Saint-Georges was a French planter. Saint-Georges was the name of his plantation. He impregnated Anne, the Senegalese slave of his wife, who bore him a son in 1745. Uncharacteristic of many of these sort of relationships he acknowledged the child was his and gave him his family name. When he was seven Bologne’s father took him to Paris for his education, enrolling him in a boarding school. Two years later he and the child’s mother returned to France and set up housekeeping as a family in Paris’ Saint-Germain-des-Prés district.

At age thirteen Joseph’s father enrolled him in the Royal Technical Academy of Fencing and Swordsmanship. He quickly became the finest swordsman in the academy, perhaps in all of Paris. Upon graduation he was made an Officer of the King’s Bodyguard and a chevalier (an honorary knighthood). He went on to serve tours of duty in the French Army during the Seven Years War (1756-1763) and later after the French Revolution, where he was Colonel and commander of an all-Black regiment of the Revolutionary Army. All this in spite of the fact that French law forbade him, a man of African heritage, to become a citizen, to retain his father’s royal title of “Gentleman of the King’s Chamber,� or to marry outside his class.

There is limited information about Bologne’s musical training, but he was obviously so well-skilled that Italian violinist-composer Antonio Lolli (1725-1802) wrote two violin concertos for him and French composer François-Joseph Gossec (1734-1829) dedicated his set of String Trios, Op. 9 to Bologne. Lolli may have worked with him on violin technique and Gossec composition, but this may be apocryphal. Bologne played in Gossec’s orchestra, and was later both leader and conductor of the group.

As a composer Joseph Bologne was quite prolific, composing six operas, fourteen violin concertos, four symphonies concertantes, and numerous chamber works and songs. His Six String Quartets, Op. 1, Nos. 1-6 date from 1770-1771 and were published by the Paris publishing house of Jean-Georges Sieber (1738-1822) in 1773 (There are a total of 18 quartets: Six Quartets “au goût du jour� [up-to-date] from 1779 and the Opus 14 set of six which date from 1785). The Opus 1 quartets are dedicated to Anne Louis Alexandre de Montmorency (1724-1812), 7th Prince of Robeck (Robecq) and Grand Duke of Spain.

The Opus 1 quartets all display a similarity to the Italian opera overtures from earlier in the Eighteenth Century (often called “sinfonia�) in that they have an overall “A-B-A� form with the ‘A’ sections being robust allegros and all ‘B’ sections marked “rondo.� As such, in arranging them for string orchestra it seemed quite natural to rename them “overtures.� Certain liberties were taken by the arranger in order to maintain the integrity of the classic Rondo formula. All six have been arranged in this manner for string orchestra. They vary in length from twelve to almost twenty minutes. 

If you wish to obtain parts, write to debbaut@gmail.com and pay $42 via venmo or $40 via personal check and they will be sent to you in pdf format.

String Orchestra - Level 4 - Digital Download

SKU: A0.533446

Composed by Carson Cooman. Contemporary. Score and parts. 6 pages. Musik Fabrik Music Publishing #2915727. Published by Musik Fabrik Music Publishing (A0.533446).

Shawkemo Dreaming (2009) for string orchestra is dedicated to Robert Moran. The
title refers to Shawkemo, a region of Nantucket Island, Massachusetts. This work is
one of a variety of pieces deeply connected to the landscape of Nantucket.
Overlooking the harbor and conservation preserves, Shawkemo imparts a sense of
peace, amidst gentle wind and sky. The work begins with bell-like tolling through
which a freely lyrical melody is unfolded. This melodic material is developed, building
to small climaxes, before the work settles into a reposed conclusion.

String Orchestra - Level 3 - Digital Download

SKU: A0.752591

By Bruno Mars. By Bruno Mars, Charles Wilson, Devon Gallaspy, Jeff Bhasker, Lonnie Simmons, Mark Ronson, Nicholaus Williams, Philip Lawrence, Robert Wilson, Ronnie Wilson, and Rudolph Taylor. Arranged by Dury Loveridge. Pop. Score and parts. 18 pages. Dury Loveridge #3004167. Published by Dury Loveridge (A0.752591).

The Mark Ronson/Bruno Mars hit arranged for String Quintet. Arranged by a professional composer and chamber musician, this is a faithful reworking of the song, with enough rhythmic drive to keep the party going. Perfect for professional groups, or school groups from Grade 5 upwards, this is great to any kind of function or concert.

String Orchestra - Level 4 - Digital Download

SKU: A0.533447

Composed by Carson Cooman. Contemporary,Instructional. Score and parts. 14 pages. Musik Fabrik Music Publishing #2915731. Published by Musik Fabrik Music Publishing (A0.533447).

Shawkemo Dreaming (2009) for string orchestra is dedicated to Robert Moran. The
title refers to Shawkemo, a region of Nantucket Island, Massachusetts. This work is
one of a variety of pieces deeply connected to the landscape of Nantucket.
Overlooking the harbor and conservation preserves, Shawkemo imparts a sense of
peace, amidst gentle wind and sky. The work begins with bell-like tolling through
which a freely lyrical melody is unfolded. This melodic material is developed, building
to small climaxes, before the work settles into a reposed conclusion.