SKU: KJ.SO313C
UPC: 8402703095.
Mozart's simple, charming melody sung by Don Giovanni in Act I of the opera Don Giovanni invites amplification by variation! Variations feature different string techniques including legato, spiccato, and detache. G Major with a taste of G minor thrown in. A delightful work.
SKU: FJ.ST6364
UPC: 674398232758. English.
The Allegro molto from Mozart's Symphony No. 40 is arguably one of the most well-known melodies in all of classical literature. This arrangement goes well beyond the melody to give a broad representation of the entire movement while remaining very accessible to students.
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: KN.9744
UPC: 822795097443.
This soprano aria from Wolfgang Amadeus Mozart's opera The Marriage Of Figaro in the key of D major, contains some interesting modulations and is playable by grade 2 groups. Much of the charm of this piece results from Mozart's creative and brief exploration of many tonal centers, and is a great example how a composer can take a relatively simple tune and provide a great deal of interest through imaginative harmonies. Each set includes three copies of the 3rd Violin/Viola T.C. part and an optional piano part. Duration 2:40. Available in SmartMusic.
SKU: FJ.ST6501S
English.
This arrangement is rich with pedagogical and musical opportunity! Written by a 16-year-old Mozart, it is in Rondo form with distinct key centers to establish hand patterns and excellent intonation. It uses sudden dynamic changes for dramatic effect, reinforces off-the-string bowing, and further develops speed and facility in the left hand. A complete package from the Classical era!
SKU: FJ.ST6336S
The Allegro Moderato (first movement) from Mozart's Symphony No. 29 contains that delicate balance between his graceful lyricism and his signature tempestuous energy. This shockingly authentic arrangement allows your string students to experience all the intensity of the original without having to bring in wind players.
SKU: FJ.ST6501
UPC: 241444414750. English.
SKU: FJ.ST6418
UPC: 241444375464. English.
This delightful Serenade in D (K. 100/62a) was completed in 1769, when Mozart was a mere 13 years of age (and this is an ideal fact to share with students)! The first movement, even though composed at such a young age, provides challenges for every musician in the ensemble and is musically appealing to players and audience. This would be an outstanding addition at any point in a program but works particularly well as a concert closer!
SKU: FJ.ST6541
Written by Mozart during his first concert tour of Italy at age 14-15, this well-known work was written in the style of the Italian overture of the time. This noteworthy arrangement is extremely accessible to developing orchestras while remaining true to the sound of the original. Well suited for both large and chamber orchestras, this arrangement is ideal for the middle of your program. (3:45).
SKU: FJ.ST6265S
This terrific concert opener is considered by many to be Mozart's first mature work in the operatic medium. Retaining all the depth and nobility of the original, this arrangement also remains musically and structurally true to the harmonic and melodic spirit of Mozart's original opus. Engaging and musically satisfying!
SKU: FJ.ST6541S
Written by Mozart during his first concert tour of Italy at age 14-15, this well-known work was written in the style of the Italian overture of the time. This noteworthy arrangement is extremely accessible to developing orchestras while remaining true to the sound of the original. Well suited for both large and chamber orchestras, this arrangement is ideal for the middle of your program.
SKU: FJ.ST6418S
SKU: CF.YAS31
ISBN 9780825858420. UPC: 798408058425. 8.5 X 11 inches. Key: D major.
A great piece for developing players to learn the sensibilities of the classical period, Doris Gazda has taken 3 beautiful waltzes from Sechs Deutsche Tanze fur Orchester, Kv. 509, originally written by Mozart as an orchestral work, and combined and arranged them for easy string orchestra. The arrangement is extremely playable and is a wonderful way to encourage legato playing as well as good rhythmic execution.
SKU: CF.CAS10
ISBN 9780825847615. UPC: 798408047610. 8.5 X 11 inches. Key: G major.
With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unisonA forte, which suddenly drops toA piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.
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.YAS13F
ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.
IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: FJ.ST6468S
Cannabich was a contemporary of Mozart and Director of the famed Mannheim Court Orchestra, reputed at the time to be the best and most famous orchestra in all of Europe. The first movement of this particular symphony is filled with great drama and wonderful music. This arrangement is incredibly fun to play, exciting to hear, and full of teachable moments.
SKU: FJ.ST6468
UPC: 241444397794. English.
SKU: AP.29644S
UPC: 038081324210. English.
Built from primitive sounding rhythms and modal harmonies, this intriguing work opens with an ominous introduction that leads into the first statement of the main theme. Educational opportunities abound in this energetic piece, including some easy two-part counterpoint between the 1st violins and 2nd violins/viola. Primitivo, which is correlated to Orchestra Expressions Book 1, or to most first year method books, is certain to capture the imaginations of students and audiences alike! (2:10).
About Orchestra Expressions
Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.