Format : Score
SKU: FJ.ST6455S
English.
Follow in the footsteps of Olympians and experience the strength, passion and commitment of these incredible athletes. The soft, yet rich opening foreshadows the powerful music that follows. Aggressive rhythms juxtapose with soaring melodies and harmonic moments filled with tension and release. An exciting work with film score qualities and an optional harp part.
About FJH Developing Strings
Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5
SKU: FJ.ST6455
UPC: 241444389010. English.
SKU: FJ.ST6489
UPC: 241444411780. English.
This expressive work aims to encapsulate the essence of serenity through its calm, moderate tempo and simple rhythms. A beautiful interplay between sweeping melodic lines and a gorgeous harmonic language provides unlimited potential for phrasing and music-making.
SKU: KN.09464S
UPC: 822795094640.
Of all Shaker hymns, this is undoubtedly the best known because it served as the basis for Copland's ballet, Appalachian Spring. Arranged here for strings, it combines simple pentatonic melodies with memorable rhythms. Harmonics, tremolo and strummed chords in the keys of G and D add flair, and the score contains an excellent synopsis of Shaker life for students and audiences. Duration 2:15.
SKU: HL.49019158
ISBN 9790220133206. 8.25x11.75x0.222 inches.
Written in 2010 for the Royal Liverpool Philharmonic, Wigglesworth's nine-minute work explores the idea of perpetuum mobile (continuous movement) in seven connected, miniature inventions. A regular pulse forms the work's core, with elaborations of the central musical idea shifting constantly around it in jagged rhythms and sumptuous orchestration. The composer writes, The seven sections can very briefly be described thus: 1) an active, miniature 'theme and variations'; 2) the juxtaposition of various fragmentary two-part inventions; 3) a tremolo string ostinato with woodwind interjections, building towards the first climax; 4) an ostinato passing between horns and muted trumpets together with a dialogue for high woodwind and low strings; 5) a very slow canon for string harmonics and pizzicato double basses; 6) a fast, one-part invention beginning with solo piccolo, and gradually leading to the second climax; 7) chorale.This is a lively orchestral miniature which gives the impression of a kaleidoscope, with short musical ideas cutting across each other in quick succession.
SKU: CF.CAS117
ISBN 9781491153291. UPC: 680160910793. 9 x 12 inches. Key: A major.
Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service.One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS117F
ISBN 9781491153307. UPC: 680160910809. 9 x 12 inches.
SKU: PR.11641737S
ISBN 9781491136133. UPC: 680160688432.
Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
SKU: CF.CAS22
ISBN 9780825858208. UPC: 798408058203. 8.5 X 11 inches. Key: G major.
The fast paced rondo has a Dorian flavored melody with hints of quartel (based on an interval of a fourth) harmony to give it a contemporary sound The players are presented with solo opportunities as well as harmonic turns and twists that will keep them.Rondo in the Nick of Time was originally the third movement for a woodwind quintet piece that I wrote in 1990. I have always been fond of this little piece and felt that it would adapt well to larger ensembles. I have also scored this piece for band as part of a suite called Upon a New Horizon.The main theme is based on the Dorian Mode. The use of quartal harmony makes up most of the harmonic material. Each statement of the theme is followed by an episode that increases in length each time. There is a sudden change of style and tempo in the middle of the piece, where fragments of the theme are developed. The title is a play-on-words, since the work contains hemiola effects that alter the feel of the time.As with all of my pieces for strings, the bowings are given only as a reference. Feel free to alter them to fit the needs of your students. I have indicated a rather fast tempo for the piece. I really like the piece to fly, but it will work and sound fine at a slower tempo as well. Just endeavor to keep their energy moving forward.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students enjoy it and find it useful in your program.-Larry ClarkLakeland, FL. 2005.
SKU: CF.BAS84F
ISBN 9781491159309. UPC: 680160917884.
Lauren Bernofsky wants young string players to love playing music, from the very beginning of their studies. Therefore, she likes writing early-level pieces that are fun, yet pedagogically helpful. On a Swing is played on only open strings, so students can focus on their bow holds and bowing without having to think about left-hand fingers. The piece gets its harmonic and rhythmic interest from the piano part. This work is dedicated to Sandy Mutchler, who fondly remembers her dear friend, the strings pedagogue Linda Luebke. The title and feel of the piece reflect the times they spent together on a porch swing. The back-and-forth motion of the swing is imitated in the up-and-down bows. Students should think of a relaxed, swinging motion with their bodies as they play this piece.Lauren Bernofsky wants young string players to love playing music, from the very beginning of their studies. Therefore, she likes writing early-level pieces that are fun, yet pedagogically helpful. “On a Swing†is played on only open strings, so students can focus on their bow holds and bowing without having to think about left-hand fingers. The piece gets its harmonic and rhythmic interest from the piano part. This work is dedicated to Sandy Mutchler, who fondly remembers her dear friend, the strings pedagogue Linda Luebke. The title and feel of the piece reflect the times they spent together on a porch swing. The back-and-forth motion of the swing is imitated in the up-and-down bows. Students should think of a relaxed, swinging motion with their bodies as they play this piece.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.BAS84
ISBN 9781491159132. UPC: 680160917716.
SKU: CF.CAS107
ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor.
Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance.An up-tempo 3â„4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 .
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: SU.29110060
1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).
SKU: BR.EB-8639
Michael's duets are conceived for young as well as older beginning students and can be played in the first position.
ISBN 9790004182857. 9 x 12 inches.
2 x 4 little duets on 8 strings Frank Michael's duets are conceived for young as well as older beginning students. Both cycles are designed with contrasting sounds and can essentially be played in the first position. The pieces specifically call for techniques that are uncommon among beginners, such as pizzicato, glissando, col legno battuto and harmonics. The String Games are very easy and perfectly suited to children. The closing cycle On 8 Strings was written shortly before the other pieces and is intended to give students the experience of having fun with acrobatics, enjoying all kinds of sonorities, including 'forbidden' ones, making a more unusual use of the instrument, and to combine this with clear forms, melodies and rhythms. All eight little pieces are ideal for recitals. The book also contains special suggestions for practice and improvisation; working them out will enhance the interpretation of the pieces. The enclosed CD is intended as an aid for practicing at home.Michael's duets are conceived for young as well as older beginning students and can be played in the first position.
SKU: KN.9464
SKU: CF.CAS44
ISBN 9780825867118. UPC: 798408067113. 8.5 X 11 inches. Key: G minor.
This is a tour-de-force for the advancing string orchestra. Beautiful, dramatic, and flowing, Waterloo Station is very fresh and contemporary. Students will love it for the lush harmonic textures and rhythmic drive that this composer is so noted for.Composed as a characterization of the fast-paced atmosphere of London’s Waterloo Train Station, this fast-slow-fast piece combines technical excitement with heartfelt simplicity.The fast section in G minor consists of two main parts: the intense, emotional A section at m. 21 and the legato, sweeping B section at m. 59. The syncopated tutti figures in the high strings coupled with the fiery cello and bass lines propel the fast sections. The phrase in mm. 1–8 recurs throughout. Making four- to eight-measure exercises of this section below tempo in the violins and viola, focusing on rhythmic clarity, will help to lock in the syncopation. Similarly, the cello and bass should rehearse this slowly as well as mm. 9–16 to gain fluidity and insure a solid foundation.The cellos carry the tune at m. 71, and the ensemble builds from mm. 79–86 to the transition at m. 87. An abrupt change to half tempo here slows the momentum and transitions to a quiet, melancholy tone in m. 91. The middle section (ABA) begins in G minor with a somber quality, highlighted by the Violin I solo. It gradually builds to a beautiful, uplifting setting as it moves to G major in m. 100. Returning back to the hushed G minor tonality, it then speeds up again and transitions back to Tempo I for a brief recapitulation of the fast section. Measure 117 marks the return to vigorous playing, beginning softly and building to a thrilling ride to the end.
SKU: CF.FAS136F
ISBN 9781491165195. UPC: 680160924103. Key: D major.
This original piece is written in the style of a cheery Victorian carol! Using only simple rhythms and first-finger patterns the D and A strings (G in Bass), this bright winter tune is perfect for students who have just learned about the ¾ time signature and are getting ready for their winter concert. Part independence is kept to a minimum with frequent doubling between parts. An optional piano part is included for additional support and harmonic interest.
SKU: ST.Y274
ISBN 9790220223358.
1st perf: Keisuke Okazaki, Tokyo Opera City Recital Hall, Tokyo, Japan, 22 April 2008 1st UK perf: Darragh Morgan, Schott Recital Room, Bauer & Hieber, London, 5 February 2009 Though the jagged figures and phrases of Lucky's Dream by Morgan Hayes are unmistakably those of a contemporary musical expressionist, the shadow of Bach also falls on this work, inspired by the virtuosity of the young Japanese soloist Keisuke Okazaki and his playing of the E major Partita. In fact, though 'standard' contemporary techniques are widely used in the piece - left-hand pizzicato, harmonics and microtones, all deployed in edgy, unpredictable rhythms - there is also a classical shape to the structure. In this two-part form, lasting around four minutes, the first section is reflective, dwelling on single notes, phantoms as it were of pitches that are subtly deflected through slow glissandi. Then a spectral dance ensues, delivered largely on plucked strings, ethereal, disembodied, strange. The 'Lucky' in question is a character from Samuel Beckett's play Waiting for Godot, and Lucky's Dream is a complementary work to the earlier, impassioned Lucky's Speech (2006). The two items can stand alone or may be performed consecutively. Both are to be found on the recent all-Hayes CD released on the NMC label (NMC D163), which also features the composer's 17-minute Violin Concerto as further evidence for his original approach to writing for the instrument.
SKU: FJ.ST6506
UPC: 241444417348. English.
This brilliant march in grand concert style works beautifully for strings! A powerful melodic line combines with strong rhythms and moving harmonic shifts as the piece unfolds. After a wonderful exchange of the opening themes, the piece moves into an energetic coda with a riveting ending. A perfect performance piece at concert or festival as well as an ideal change of pace for any program!
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: CF.FAS136
ISBN 9781491164792. UPC: 680160923700. Key: D major.
This original piece is written in the style of a cheery Victorian carol. Using only simple rhythms and first-finger patterns on the D and A strings (G in the Bass), this bright winter tune is perfect for students who have just learned about the ¾ time signature and are getting ready for their winter concert. Part independence is kept to a minimum with frequent doubling between parts. An optional piano part is included for additional support and harmonic interest.
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: FJ.ST6506S
