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291 sheet music found So Will I (100 Billion X)
So Will I (100 Billion X) # String Orchestra # INTERMEDIATE # Contemporary # Benjamin Hastings, Joel Housto # Sherry Lewis # So Will I # Sherry Lewis Publishing # SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.521925 Composed by Benjamin Hastings, Joel Houston, and Michael Fatkin. Arranged by Sherry Lewis. C...(+)
String Orchestra - Level 3 - Digital Download SKU: A0.521925 Composed by Benjamin Hastings, Joel Houston, and Michael Fatkin. Arranged by Sherry Lewis. Contemporary. Score and Parts. 30 pages. Sherry Lewis Publishing #6610083. Published by Sherry Lewis Publishing (A0.521925). SO WILL I (100 BILLION X)STRING ORCHESTRA, Intermediate Level for 2 violins, viola, cello and string bass chords such as C, Em, etc.Score: YesParts: 14 pagesTime: 15:35MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts however I also offer individual versions for one, two and three parts that are more detailed for these ensembles.Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer.If you can’t find a title then contact me through https://baysbest.com/contact/and I’ll give you the link back to Sheet Music Plus’s listing. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase! I.o.u.
I.o.u. # String Orchestra # INTERMEDIATE/ADVANCED # Country # Lee Greenwood # Jon Thingvall # double stops # I.o.u. # Jon Thingvall # SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.954489 By Lee Greenwood. By Austin Roberts and Kerry Chater. Arranged by Jon Thingvall. Country. Sc...(+)
String Orchestra - Level 4 - Digital Download SKU: A0.954489 By Lee Greenwood. By Austin Roberts and Kerry Chater. Arranged by Jon Thingvall. Country. Score and parts. 10 pages. Jon Thingvall #4742269. Published by Jon Thingvall (A0.954489). Time: 5 minThis piece contains the following: double stops; triple-, and quadruple-stop broken chords, septuplet octave runs, sul tasto, and solo passages for each instrument.The YouTube video scrolls through the score, so, before you purchase it, you can get a great idea of how suitable this piece would be for your ensemble. In this arrangement, while borrowing something old (sotto voce quotes from Pachelbel's famous Canon in D (here in G)), the something new 80s Pop/Country sound blends with the classical into a timeless tapestry. I've always thought of this classic by Lee Greenwood as the perfect song for a wedding or an anniversary, but, in reality, its lyrics are so grateful and sincere that it could just as well grace a birthday, a memorial, or any other sentimental, friendly gathering.Due to unforeseeable technical problems, parts do not always print to PDF correctly, so please let me know of any problems with printed parts, and I can send you an updated version. My e-mail is klazzkeys@aol.com Maestoso and Fugue in D minor for String Orchestra - Based on Ludwig van Beethoven Unv 7 Hess 40 & O
Maestoso and Fugue in D minor for String Orchestra - Based on Ludwig van Beethoven Unv 7 Hess 40 & O # String Orchestra # Classical # Ludwig van Beethoven, Cees Nie # Upstream Music # Maestoso and Fugue in D minor # Upstream Music # SheetMusicPlus
String Orchestra - Digital Download SKU: A0.933521 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and...(+)
String Orchestra - Digital Download SKU: A0.933521 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 18 pages. Upstream Music #6353295. Published by Upstream Music (A0.933521). Both the Adagio molto (Hess 40) and the unfinished, originally intended Fugue date from November, 1817. It was the publisher Tobias Haslinger who requested a prelude and fugue for a publication in line with works published earlier. Beethoven completed the prelude but with the fugue he stopped after merely four bars of music. The short original fugue theme was later inserted into the second part (Molto vivace) of the Ninth Symphony (Opus 125).The prelude (Beethoven did not give any time indication) starts with 37 bars of solemn music followed by 12 bars Allegro. In terms of form, rhythm, and key, this material shows great similarity to the Molto vivace from Opus 125 referred to above. The present version has been arranged for a string orchestra instead of for a string quintet, thus being the first publication which enables it to be performed in its entirety. In order to balance the foundation, I opted for introducing a contrabass part, which largely follows the cello part composed by Beethoven. As regards the phrasing, dynamics, and rests as well as the time indication, this publication follows those in Willy Hess’ publication. So the prescribed time ‘Adagio molto’ is not that of Beethoven himself.The arguments to link the Maestoso to the Fugue in D major (Opus 137) published later are multiple. In the first place, the Fugue also dates from 1817. Secondly, the key is the same as is the number of instruments for a string quintet with two separate alto parts. Not only does the original fugue theme start at the tone a, but the timing too is the same, that is 3/8. So it seems reasonable to assume that Beethoven intended both works as a couple.The abnormal rhythmics of the bars 38 up to and including 49 is remarkable. I have preserved it because the part has been authentically composed by Beethoven, while it did not seem logical to me to have it immediately followed by the Fugue completed by myself. I have composed a number of bars of music based on the beginning of the prelude by way of a smooth transition.In the Fugue, I closely adhere to Beethoven, at the same time introducing a contrabass part here as well, so as to support the cello. At a number of places in the score, Beethoven recorded neither music nor rests. This refers to the bars 5 (second viola and cello), 11, 12, 25 and 26 (first and second violins), 39 to 41 (all parts), 43 and 44 (all parts except the first violin), 45 (first viola) and finally 45 and 46 (second violin). As in Willy Hess’ publication, I have just inserted rests here. Donut Etudes vol. 3: Don’t Step in the Holes! – String Orchestra
Donut Etudes vol. 3: Don’t Step in the Holes! – String Orchestra # String Orchestra # INTERMEDIATE # Instructional # Joshua Hauser #   # Donut Etudes vol. 3: Don’t S # Slide Ride # SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.784349 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288707. P...(+)
String Orchestra - Level 3 - Digital Download SKU: A0.784349 Composed by Joshua Hauser. Instructional. Score and parts. 146 pages. Slide Ride #5288707. Published by Slide Ride (A0.784349). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!Combine these with the set for Band when used for Full or Chamber Orchestra. Open Strings Holidays: A Song for Every US Holiday for Beginning String Orchestra Parts
Open Strings Holidays: A Song for Every US Holiday for Beginning String Orchestra Parts # String Orchestra # BEGINNER # Yoel Epstein # Yoel Epstein # Hope you enjoy.  
# Open Strings Holidays: A Song # Yoel Epstein # SheetMusicPlus
String Orchestra - Level 1 - Digital Download SKU: A0.773315 Composed by Yoel Epstein. Arranged by Yoel Epstein. Holiday,Patriotic,Standards. Score and p...(+)
String Orchestra - Level 1 - Digital Download SKU: A0.773315 Composed by Yoel Epstein. Arranged by Yoel Epstein. Holiday,Patriotic,Standards. Score and parts. 39 pages. Yoel Epstein #3686423. Published by Yoel Epstein (A0.773315). This volume contains parts for songs for every national US holiday. The songs are arranged for beginning string orchestra (all first position), with additional parts for violin, viola and cello using open strings only. You can purchase the score and one set of parts at https://www.sheetmusicplus.com/title/20826942 . An accompaniment track is available at https://youtu.be/SlkbjfKBdjc . So you can play this with the accompaniment and any combination of parts. If there are no violists, or if the cello part is too hard for your students, you can play the songs with the accompaniment, and it will sound fine. In fact, I have performed this piece with the violin open string parts only, along with the accompaniment. Please do not make copies of this. I know your project is underbudgeted and you are underpaid, and the photocopier is right down the hall. But this is my livelihood. So please, please, please, buy as many copies as you need. It's really cheap!This is one of the Open String Symphony series of music for string players of mixed skill levels. You can see all the books of the series at http://www.sheetmusicplus.com/search?Ntt=Open+String+Symphony These pieces are part of a more complete program for teaching strings in classes. You can read the entire first-year program in the books Playing Together Student Workbook and Playing Together: Teacher's Guide, both available on Amazon: Teacher's Guide: https://www.amazon.com/Playing-Together-Teachers-Guide-teaching/dp/1534974598 Student Workbook: https://www.amazon.com/Playing-Together-Student-Workbook-2/dp/1535336617 If you enjoy this, you are welcome to try some of my other arrangements. You can see them at http://www.sheetmusicplus.com/search?Ntt=Yoel+Epstein ), In particular, you might be interested in my music flash cards (here). If you need arrangements of any of these songs for special combinations of instruments, feel free to contact me, and I will try to accommodate. Write me at yoelepst@gmail.com. Hope you enjoy. Prelude and Fugue in C major for String Orchestra - Arrangement of Beethoven Hess 31
Prelude and Fugue in C major for String Orchestra - Arrangement of Beethoven Hess 31 # String Orchestra # Classical # Ludwig van Beethoven, Cees Nie # Upstream Music # Prelude and Fugue in C major f # Upstream Music # SheetMusicPlus
String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and...(+)
String Orchestra - Digital Download SKU: A0.933524 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Arranged by Upstream Music. Classical. Score and parts. 24 pages. Upstream Music #6353319. Published by Upstream Music (A0.933524). The Prelude and Fugue in C major were created during the period of study with Johann Georg Albrechtsberger, who lived from February 3, 1736 to March 7, 1809. Albrechtsberger was an Austrian theoretician and pedagogue of music, an organist, as well as a composer. He entered upon his career early as a choirboy in the choir of the monastery of Melk, Austria. There he was discovered by the crown prince, the later emperor Joseph II. The latter facilitated an appointment as the court organist.Later Albrechtsberger became conductor of the chapel choir of the famous Stephansdom in Vienna. Albrechtsberger was a highly praised pedagogue; Beethoven, too, was among his pupils. It was this composer that studied with Albrechtsberger from January 1794 to March/May 1795. Together with Beethoven, Albrechtsberger researched all forms of the counterpoint, which is most manifest in the large number of exercises passed down; over 300 studies, fugues etc. have been preserved with corrections and alterations by Albrechtsberger. During this period of study, greater works were also composed, such as the Dona Nobis Pacem (Hess A57), the Prelude and Fugue in E minor (Hess 29), the Prelude and Fugue in F major (Hess 30) and the present one in C major (Hess 31). The piece was probably composed in 1794-95; this opus also shows numerous improvements and alterations by his master, although some alterations are by Beethoven himself. The manuscript of the work is to be found in Vienna, and did not appear in print until 1967 for the first time.The present version sticks closely to Beethoven’s, but has been provided with a double bass part so as to adapt the work for being performed with a larger strength than for which it was originally written. The strength originally intended by Beethoven was two violins, a viola and a cello, so as a string quartet. With the supplementary bass part, the piece can also be played by a string orchestra, which will no doubt promote its dissemination and familiarity. In a sense, the work is already a preliminary study for the string quartets Opus 18 produced later.Especially the rhythm, melodic forms, and the counterpoint applied, frequently return in these string quartets. Beethoven has hardly indicated any rests in the empty bars; Cees has as yet added them.The phrasing, dynamics and time indications have also been added. Beethoven merely writes down the notes, while we have to accept the fact that various notes have been changed by Albrechtsberger but Beethoven’s notes might have been just as interesting. Of some notes it was not clear what Beethoven exactly meant; in such a case, Cees has adhered to the harmonious form, adapting the notes which, logically speaking, fit in with the harmonic unity.