SKU: CF.CAS18
ISBN 9780825855016. UPC: 798408055011. 8.5 X 11 inches. Key: F major.
A truly masterful fantasy on an English folk song, this piece shows the exceptional musical development found in many of the greatest classical symphonies. The fantasy is roughly in the style of the classical rondo (ABACA) and features fine counterpoint and engaging melodies. This piece can be played in an orchestral and quartet setting and is both challenging and fun to play.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends!I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins:There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin....The tune is rollicking and words are amusing, and yes, eventually they worked out their problems!The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies.This composition may be performed by a string orchestra or solo string quartet.- Douglas Townsend.
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.YAS19F
ISBN 9780825854866. UPC: 798408054861. 8.5 X 11 inches. Key: D major.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patterns in the violas and low strings. An AABA form begins at m. 5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the 13 section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
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: CF.YAS33
ISBN 9780825858468. UPC: 798408058463. 8.5 X 11 inches. Key: G major.
A walk through the park or a morning stroll through the forest is what this piece best calls to mind. With its pastoral setting and lush melodies, Velvet Morning will truly showcase your group's mastery of legato playing.Velvet Morning is a warm and colorful work for string orchestra. Please play con sordino if available. The music is a reflection of my love for the orchestral music of Barber, Ravel, Debussy and Satie. It should have the same sense of passion and intensity that those masters employ in their music.The opening tempo is marked rubato, and should speed up then slow down based on the phrases. The main melody appears at m. 11 in the first violins and should have a flowing quality. The harmony does utilize some slight dissonances from time to time which should be emphasized. The violas and cellos take over the melody at m.19 with a counter line in the violins. The melody returns to the violin at m. 27 with a pianistic cello line punctuated by pizzicato in the bass. Some transitional material follows that builds up to a full presentation at m. 47. Let the ensemble open up here with an intense, full sound. This winds down to a return of the introduction at m. 60. The ending should be tender and deliberate all the way to the last plush chord.
SKU: CF.YAS33F
ISBN 9780825858475. UPC: 798408058470. 8.5 X 11 inches. Key: G major.
SKU: CF.YAS57
ISBN 9780825866890. UPC: 798408066895. 8.5 X 11 inches. Key: G major.
This is a sweeping new original composition in a subto Scottish style from popular composer Alan Lee Silva. Just another one of the pieces that always seem to flow effortlessly from his talented pen. This is an excellent piece for any contest or festival.This Scottish-flavored, uptempo piece in has a lilting, jubilant-feel throughout. Highland Celebration is built around two rhythmic subdivisions: two groups of three eighth notes per measure and three groups of two eighth notes per measure. Have the ensemble distinguish between the two subdivisions by tapping each one separately. Make an exercise of the rhythm in mm. 1–2 in Violin 1 to facilitate playing the different rhythms precisely: (1 2 3 - 4 5 6) and (1 2 - 3 4 - 5 6). Rehearsing four- to eightmeasure sections under tempo will aid in tightening these rhythms and solidifying pitch.The sections to concentrate on are: mm. 17–24 and mm. 33–40 to make sure that Violins I and II and Cello are playing together; mm. 33–40, to focus on the Violin 1 and Violin 2 unisons and couplings; and mm. 57–62, where the quarter-note subdivisions are emphasized. The piece is book-ended with the introduction material which always begins quietly and builds. The ensemble at m. 79 starts with tutti scalar figures and increases in intensity to the final accented measures at m. 83. Written in AABA form with a double bridge at m. 45, the overall feeling is dance-like and festive.
SKU: CF.FAS38
ISBN 9780825861130. UPC: 798408061135. 8.5 X 11 inches. Key: D major.
One of the most beloved of all Christmas carols is presented in an easy, yet beautiful arrangement by Roy Phillippe. Every sections is given a chance to play the melody in the very playable setting. The optional piano part adds interest and colorful lines to this already very special piece.I am of the opinion that a piece of music is not judged by how difficult it is to play, but by how good it sounds. While my arrangement of Silent Night is written for beginning string players, I have tried to keep it interesting for all players. It should be played warmly with expression to create a full sound.The piece begins with an introduction based on the three-note Silent Night motive. The main melody is introduced in m. 5 by the first Violins, and is harmonized by the second Violins and Violas. The Cellos reiterate the motive in mm. 6,8,10 and 11. Beginning at m.12 the motive alternates between the Violin II and the Cellos. The melody is played tutti until the key change at m.29, at which point when the Cellos and Basses take the melody with light accompaniment in the Violins and Violas. The final statement of the melody is played by the first violins beginning in m. 37. The Silent Night motive from the beginning alternates between Violin II and the Cellos to the end.
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.
SKU: FJ.ST6317S
English.
Whoops and hollers are optional in this festive work (and yes, they are also in the composer's original score!). Your ensemble works as a team to celebrate the happy couple with strong homophonic rhythms and predictable harmonies. At the same time, the first violins have the opportunity to significantly explore their E string tone and pitches in the familiar key of D Major. And since violin 2 doubles the viola, you may wish to have ALL of your violins work on their E strings!
About FJH Beginning Strings
Appropriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: CF.YAS15
ISBN 9780825851995. UPC: 798408051990. 8.5 X 11 inches. Key: D minor.
Lower strings be sure to maintain a steady pulse and dont rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 121. If the soloist is comfortable using third position, play mm. 119 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and donat rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1a21. If the soloist is comfortable using third position, play mm. 1a19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don't rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1-21. If the soloist is comfortable using third position, play mm. 1-19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don’t rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1–21. If the soloist is comfortable using third position, play mm. 1–19 and the first half of m. 20 one octave higher.All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance.String editing by Amy Rosen.
SKU: CF.BAS5F
ISBN 9780825845093. UPC: 798408045098. 8.5 X 11 inches.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.
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.BAS88
ISBN 9781491164730. UPC: 680160923649. Key: G major.
Using just 6 notes, Arco Echo explores G major in first position using only easy quarter- and half-note rhythms. A smooth detaché call-and-response between upper and lower string sections will help young students learn to listen across the ensemble, building confidence in simple three-part harmony with doubled Violin 2/Viola and doubled Cello/Bass. Optional piano is included for additional support, making this a fun first venture into independent counting.Arco Echo is a lighthearted piece for beginning string orchestra. It falls within the range of the first-year player. Young musicians can work on basic detaché bowing skills with a nice mix of half- and quarter-note rhythms, including some rests and minimal dynamic changes. All of the sections get a chance to play parts of the melody with an echo game of call-and-response between upper and lower string sections. The harmonies are very clear and direct, resulting in a solid concert selection that will give the young orchestra a big, confident sound.
SKU: CF.CAS36
ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.
A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.
SKU: KN.9742
UPC: 822795097429.
The violas seize the spotlight and demand to be heard in this dramatic grade 2 piece! The conflict rages as the violas' aggressive B minor main theme contrast with the soaring D major theme played by the violins. Who will emerge victorious in this epic battle for orchestral dominance? Each set includes three copies of the 3rd Violin/Viola T.C. part and an optional part for piano. Duration 3:25. Available in SmartMusic.
SKU: CF.FAS9
ISBN 9780825844768. UPC: 798408044763. 8.5 X 11 inches. Key: D major.
This gentle arrangement of the Christmas classic Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring. Performance Time: 1:55.This gentle arrangement of the Christmas classicA Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring. Performance Time: 1:55.This gentle arrangement of the Christmas classic Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring. Performance Time: 1:55.This gentle arrangement of the Christmas classic Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring.Performance Time: 1:55.
SKU: CF.YAS45
ISBN 9780825863462. UPC: 798408063467. 8.5 X 11 inches. Key: A major.
Two Daughters is a flowing and impassioned composition dedicated to the composer's daughters that gives the young string orchestra ample chances to display its lyrical abilities. Several solo passages vary the texture, which displays Alan Lee Silva's usual flair for lush contemporary harmonic writing.From the poignant, heartwarming violin melody at m. 5, to the soaring ensemble climax at m. 61, Two Daughters is a flowing, lyrical composition with a wide dynamic range. Written in AABA form with a bridge, the delicate introduction sets up a legato violin solo at m. 5. The piece builds to the singing B-section (m. 21) and returns again to the gentle A-melody (m. 29). The cello is featured in m. 37 under a soft, high string sustain. Two modulations (mm. 37 and 52) move seamlessly and build excitement to the bridge, highlighted by alternating melodic phrases. The slower ending section (m.69) is played with intensity, featuring more sixteenth-note passages. The final two measures return to the sweet, gentle feeling of the introduction.
SKU: KJ.SO343C
UPC: 8402704183.
Maiden's Rescue, in D Major, includes note and rest values limited to quarter notes/rests, half notes, and whole rests. It can be successfully performed at a range of tempos, depending on the experience level of the orchestra. Rather than writing for 1st and 2nd violins, this piece features a single violin part.Jeremy Woolstenhulme composed this work for his beginning string orchestra. He decided that it should be a programmatic work accompanied by a short story and artwork. Once students became comfortable with the music and story, Mr. Woolstenhulme assigned an art project to them! Some samples of their work are printed in this publication. Connecting music, creative writing, and visual arts strengthened the entire experience and students definitely enjoyed the process. Approx. time - 2:00Steps to Successful Literature presents exceptional performance pieces - concert and festival works for beginning to intermediate string orchestras. Each piece is correlated with a specific location in String BasicsTM Books 1 or 2. Literature reinforces musical skills, concepts, and terms introduced in the method. Sometimes, a few new concepts are included and are officially introduced and defined in the score and parts. Each string orchestra work offers extended learning opportunities and briefly taps into one or more elements related to common core state standards.
SKU: KJ.SO343F
UPC: 8402704185.
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.CAS42
ISBN 9780825867071. UPC: 798408067076. 8.5 X 11 inches. Key: D major.
This popular piece for solo violin and piano has been skillfully arranged by string pedagogue Doris Gazda. A standard piece in the repertoire, it adapts quite well to the string orchestra. This is an excellent piece for an advancing group.A rondo is a musical form that was commonly used by composers from the classical through the romantic music periods. It was often the form used for the last movement of a sonata, a symphony, a concerto or a piece of chamber music.The rondo form consists of a main theme (part A) that recurs with contrasting sections (parts B, C, D and so on) in between. The contrasting sections can change key and can change from major to minor tonality. A typical form of a rondo might be ABACADABA. It is usually written in triple meter, and is lively and joyful in character. Beethoven used the rondo form quite often, and Fritz Kreisler, the famous violinist and composer, found a Beethoven melody and turned it into this “little rondo,†or rondino, written originally for violin and piano.This arrangement for string orchestra can also be played by a small string ensemble. It should be played with a light style of bowing so as to give it a happy, lilting quality.
SKU: KN.36315
UPC: 822795363159.
It's winter and the sun has already set, but a bright moon allows the whiteness of the snow covered ground to show a clear path. Everyone is excited in anticipation of a fun evening gliding through the snow on a horse driven sleigh. Then we're off, and a catchy melody follows us as we ride through the winter night. Evening Sleigh Ride is a piece that is a perfect addition to your string orchestras Winter Concert. It will leave both performers and audience with an upbeat feeling to the start of their winter break. Set includes optional 3rd Violin/Viola T.C. and percussion parts.Set includes optional 3rd Violin/Viola T.C. and percussion parts.
