Somewhere in Time: String Orchestra Conductor Score & Parts
As performed by John Barry / Arranged by John Moss
Grade: 3-4
Item: 35-PK00319556
$50.00
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Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Somewhere in Time - Full Score | $6.00 | |
| Somewhere in Time - Violin 1 | $7.00 | |
| Somewhere in Time - Violin 2 | $7.00 | |
| Somewhere in Time - Violin 3 (Viola T.C.) | $7.00 | |
| Somewhere in Time - Viola | $7.00 | |
| Somewhere in Time - Cello | $7.00 | |
| Somewhere in Time - String Bass | $7.00 | |
| Somewhere in Time - Percussion | $7.00 | |
| Somewhere in Time - Piano | $7.00 |
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Description
Somewhere in Time
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00319556
More about this title
About the Artist: John Barry
John Barry composed music for over 40 films across five decades, earning five Academy Awards and establishing himself as one of cinema's most influential composers. His work spanned genres from spy thrillers to romantic dramas, but his gift for sweeping, emotionally intelligent orchestration remained constant. For music educators, Barry's arrangements offer students access to sophisticated harmonic language and lyrical writing that feels contemporary yet rooted in classical tradition.
Why we love this
Barry's melodic gift translates beautifully to the string section, and this arrangement respects the emotional weight of the original while remaining accessible to intermediate ensembles. The scoring gives every section meaningful material, preventing the typical "first violins carry everything" dynamic that can bore developing players.
What to expect
Sweeping and introspective, with the gentle ache of nostalgia. The writing creates space for expressive playing; sustained tones and gradual dynamic shifts invite students to listen as they play and respond to one another.
Who it's for
String orchestras at grades 3 and 4 seeking repertoire that sounds sophisticated without requiring virtuosic technical demands. Directors programming romantic or lyrical concert themes will find this a reliable centerpiece.
How to get the most out of it
- Shape the melody with careful attention to phrase length; Barry's lines breathe naturally when conductors resist the urge to rush through longer sustained passages.
- Balance violas and cellos early in rehearsals. The inner voices carry essential harmonic color, and they must be heard without drowning out the violins.
- Let students hear a reference recording of the original film theme before the first rehearsal. Knowing the destination makes the emotional arc of the arrangement clear.
How to use it
Pair this with lighter concert openers to create a program arc that moves from energy into introspection. It also works well as a pops concert feature or as part of a film music themed concert.
Skills your students will build
- Sustaining tone quality across long melodic phrases
- Balancing melody with inner voice independence
- Responding to expressive conducting gestures and dynamic shaping
- Coordinate bow changes in legato passage work without audible breaks