SKU: CF.BAS5
ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.
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.The musical effect ofA Prarie LullabyA 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 toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA 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. TheA divisiA 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.The musical effect ofA Prarie LullabyA 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 toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA 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. TheA divisiA 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.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.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.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.CM9701
ISBN 9781491160091. UPC: 680160918690. Key: E major. English. Louisa May Alcott.
Evening Lullaby is based on the poem Lullaby by Louisa May Alcott. This poem describes nature's response to the evening and narrates how various creatures are soothed to sleep by the evening's quiet melody. When performing, please bear in mind the lilting feel of the 3/4 time signature. Placing emphasis on the strong beat (beat 1) should create the soothing, rocking motion needed for the lullaby. Within each phrase, connect the lines while performing the rise and fall of the dynamics. In respect to dynamics, be careful not to exceed mezzo-forte while always maintaining energy in the tone. Regarding the harmonic texture, be intentional to blend and balance each section with tall vowels and steady vibrato as suspensions are prevalent throughout the piece.  .Evening Lullaby is based on the poem Lullaby by Louisa May Alcott. This poem describes nature's response to the evening and narrates how various creatures are soothed to sleep by the evening's quiet melody.When performing, please bear in mind the lilting feel of the ¾ time signature. Placing emphasis on the strong beat (beat 1) should create the soothing, rocking motion needed for the lullaby. Within each phrase, connect the lines while performing the rise and fall of the dynamics.  In respect to dynamics, be careful not to exceed mezzo-forte while always maintaining energy in the tone.Regarding the harmonic texture, be intentional to blend and balance each section with tall vowels and steady vibrato as suspensions are prevalent throughout the piece. .
SKU: GI.G-7474
UPC: 785147747406. English. Text by H. Leslie Adams.
An interesting Christmas piece from the African-American series. It begins as a quiet lullaby in G-flat major and gradually goes into a brief triumph praise section in E major. Then back again to the quiet G-flat lullaby.
SKU: CF.CM8439
ISBN 9780825822957. UPC: 798408022952. 6.875 X 10.5 inches. Key: Eb major.
SKU: YM.GTP01097952
ISBN 9784636979527.
Let's make the routine mechanical exercises more fun piano duet performances and enjoy practicing the fingers while having fun! The accompaniment (as a secondo, a second part) is arranged in various styles, like Ballroom, Bossa Nova, Tango, Waltz, and more! In addition to the reference performance, there is also a karaoke soundtrack for the accompaniment only, so it is also enjoyable even for one person.
SKU: CF.CM9597
ISBN 9781491154199. UPC: 680160912698. 6.875 x 10.5 inches. Key: F major. English.
This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. Its very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. Itas very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to aun-learna the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. It's very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. It's very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life.As you work on this piece, try to remember the volume level that is indicated in the score. It’s very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to “un-learn†the medium dynamic level.Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!
SKU: CF.FAS100
ISBN 9781491146415. UPC: 680160903917. 9 x 12 inches. Key: G major.
Golden Slumbers is based on the poem Cradle Song from the Thomas Decker 1603 comedy Patient Gissel. The poem was set to music by Peter Warlock in 1918 as a lullaby. Carl Strommen pushes the beauty and lyrical nature of the song in his arrangement. There are interesting changes in color and texture with good use of solo instruments to contrast the full ensemble statements. A perfect vehicle to teach phrasing and musicianship to developing musicians.Golden Slumbers is based on the poem Cradle Song from a Thomas Decker 1603 comedy Patient Gissel. The poem was then set to music by Peter Warlock in 1918. Golden Slumbers should be treated as a lullaby with the following lyric as a guide:Golden Slumbers, Kiss your eyes, smiles awake you when you rise, Sleep pretty maiden, do not cry. and I will sing a lullaby.