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.

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: FG.55011-775-4

ISBN 9790550117754.

Alex Freeman found initial inspiration for his string quartet (2015) in a series of photographs a geologist friend showed him of en échelon veins in rock formations. The open strings punctuated with pizzicato unisons that begin the single-movement work call to mind something crystalline and shimmering, which is immediately infused with tumbling lyrical lines in something of a rapid caccia technique throughout. The middle of the work becomes more suspended in slower material loosely based on a technique of prolation canon, comprises layers of free, expressive, lyrical, and even elegiac music moving at different speeds. As the work concludes, the materials converge in a rhythmically pulsating stasis and an almost chorale-like statement.

Duration: c. 13'

This product includes the score and the parts (A4 sized).


American-Finnish composer Alex Freeman (b.1972) has established himself among the foremost composers of choral music in Finland. A dedicated citizen of his musical community, a teacher, and a choral singer himself, he composes music that reflects an appreciation for a wide range of aesthetics and a passion for communicating with listeners and performers. In his choral works, in particular, we find music that aims to be sonorous, melodic, and resonant, but is always crafted to carefully avoid the cliches that can burden conventional tonality.

His instrumental works run the gamut: a cantata with orchestra based on poetry of Whitman; a significant body of solo piano works that reveal deep roots in everything from austere absolute music to soaring elegaic rhetoric (see Albany Records, Inner Voice); his chamber work Blueshift (Navona Records), which is a kind of paean to Reich and Adams in miniature; open-ended modular works, like various iterations of his Slow All Clocks for electronic media, solo clarinet, and mixed choirs of kanteles; and, recently, some new directions in microtonal music.

SKU: CF.CAS79

ISBN 9780825894800. UPC: 798408094805. 9 x 12 inches. Key: D major.

Hold on tight, this is a tour de force for more advanced groups. With a slew of contemporary compositional elements including mixed-meter, extended harmonies, and angular rhythms, this piece contains a fullness that composer George Sweet's works are known for. It's challenging, but the musical rewards abound.
A bazaar is an enclosed marketplace or street where various merchants and craftsmen sell their wares. The image of a crowded bazaar in a land far away was the inspiration for the piece. The variety of different people, cultures, and merchandise present in a bazaar allowed for a piece that has many different styles, moods, and characters (both humorous and serious). After the introduction, which represents the grand entrance of the bazaar, the main theme is presented by the violin 1 at m. 15. The meter changes frequently throughout the piece, but the eighth note stays constant. Be careful to subdivide the different time signatures carefully, as these changing meters occur. A melodic and flowing B-theme occurs at m. 37. After a varied restatement of both themes, new material occurs at m. 63. This C-section contrasts with the rhythmic activity thus far and should be played as legato and as sustained as possible. Be careful to time the divisi entrances and the pyramid-style chords in this section correctly, in order to keep the tempo secure. The rhythmic A- and B-themes return at m. 83 in a varied form, and lead to a climactic passage. The tempo changes that occur from mm. 105 to 114 are very slight and are open to the interpretation of the conductor. Feel free to move the tempo throughout this section using the markings as a guideline. The desired effect is one of pushing and pulling the tempo through this section. The introduc- tory material returns at m. 114 and brings the piece to a close.

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CF.PAS16

ISBN 9781491143285. UPC: 680160900787. Key: D major.

Two of the most popular of Chanukah tunes are arranged by master string pedagogue Doris Gazda for the youngest of students. Though simple, it give the very young player the chance to sound wonderful at the very first holiday concert.
More than 2000 years ago Israel, the land of the Jewish people, was ruled byGreeks and Syrians. A small group of Jewish people fought to free their country and defeated the big armies of their rulers. The Jews reclaimed the Holy Temple in Jerusalem and rededicated it to God. To celebrate, they wanted to light the menorah, a candelabrum with a place for nine candles. Each evening they would light the menorah: a single candle the first night, two on the second night and so on until all eight candles were lit. The ninth candle of the menorah was used to light the other candles. However, they found that they had only enough oil to burn the candle for one day. Yet miraculously, the one-day supply burned for eight days. So to celebrate the miracle of the oil lasting for eight days, they commemorated the event with the festival of Chanukah.Children celebrate Chanukah with singing the Chanukah song and with gifts of toys such as dreydls. A dreydl is a little top that is spun by dragging the thumb and one finger across a little spindle.

SKU: PR.701175060

UPC: 888680101268.

“The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..