SKU: HL.372432
ISBN 9781458404893. UPC: 884088575823. 9x12 inches.
Adult and older school-age students thrive on the fun challenge of larger handspans, more arpeggiated accompaniments, fuller, more sophisticated harmonies, and broader melodic lines. These seven musically and technically engaging solos include: Cool Blue Cat ? In the Meadow Stood a Birch Tree ? Black Is the Color of My True Love's Hair ? He's Gone Away ? Scarborough Fair ? Remembrances ? Cartwheel Capers.
SKU: CF.CAS98
ISBN 9781491146583. UPC: 680160904082. 9 x 12 inches. Key: G major.
Composer Bud Woodruff takes his musical inspiration for Adventurer's Dream from a rooster named Wally. Mr. Woodruff turns this charming four-note crow into the main thematic material for this piece that is reminiscent of classic movie scores.The principal theme to this piece has an interesting history . We had a very young rooster named Wally . He had a quite rhythmic four-pitched crow, which was very unique and consistent . As he aged, his crow settled into pitches and the opening melodic figure of this piece is the very pitches and rhythm of Wally’s crow . However, Wally had a touch of a glissando between the last two pitches, which I chose to eliminate, for musicality’s sake . Wally's crow is spun out in different ways and used one way or another in all the sections of the piece . Wally was a very energetic, if not egotistical, young bird, and the piece should be performed accordingly, in a dashing, swashbuckling, heroic style, which Wally would appreciate greatly and agree that it was very appropriate!Rehearsal suggestions:The most difficult thing to accomplish in this work will be deciding if you want the repeated eight-note figure on the string or off the string . I don’t care as long as it sounds staccato . On the string, it needs to be played at or by the camber point; off the string, that point will change depending upon your tempo, but the stroke itself should remain consistent .Although the basses never have the melody, they are a critically important section and can make or break this piece . Their part counters the others and fills in rhythmic gaps in a number of places . It needs to be played aggressively and metronomically; they are the glue that makes the piece work . The cellos need to sing for all they are worth at m . 63 and do so with joy in their hands . Their theme needs to be very lyrical and smooth . The countermelody at m . 79 should be understated, yet not buried while being intertwined with the cellos’ theme . It harkens back to the main theme and needs a dreamy quality to it .The piece was written as a string orchestra piece . The optional harp part was added later and is not necessary for an effective performance of the piece . However, it does add some extra variety and color to the piece, and reinforces the basses when they fill in those rhythmic gaps to which I referred earlier .A very special thanks goes to harpist Jane Minnis for the great and insightful suggestions for this part .Thank you for playing this piece . I trust you will enjoy it as much as I do .
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: P2.80081
James Grant's Double Concerto for Euphonium and Tuba was commissioned by a consortium of individuals and ensembles. Regarding the concerto, Grant says, Movement I, 'Playground', needs little description beyond its title. Together, the two solo instruments make their way through a relentless maze of technical challenges (imagine seesaws, sliding boards, swing sets, obstacle courses and trampolines) accompanied by wind ensemble, which is faced with its own insistent array of fun and games. Movement II, 'Passage', is best described as the recollection of a journey - as though the two soloists have returned from a noble quest and are recounting their adventures... Like the title to the first movement, the title to movement III, 'Sprint', speaks for itself. The music is based on materials from a previous work originally scored for tuba quartet called 'Etude/Attitude', and is a breathless, high-energy romp from beginning to end..
SKU: CF.CAS111
ISBN 9781491151303. UPC: 680160908806. 9 x 12 inches. Key: G minor.
Composed by Matt Turner, Moonlight Odyssey for string orchestra is a hard-driving piece which takes the listener on an adventure full of rhythmic twists and turns as well as Middle Eastern-flavored melodies.The piece begins rubato with a quiet drone. The soloist should take time at the beginningdont hurry through the introduction. The tremolos in mm. 3 and 7 should shimmerplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precisebe careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.The piece begins rubato with a quiet drone. The soloist should take time at the beginningadonat hurry through the introduction. The tremolos in mm. 3 and 7 should shimmeraplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and preciseabe careful not to rush! Cellists and bassists should arock outa and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.The piece begins rubato with a quiet drone. The soloist should take time at the beginning--don't hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer--play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise--be careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.The piece begins rubato with a quiet drone. The soloist should take time at the beginning—don’t hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer—play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise—be careful not to rush! Cellists and bassists should “rock out†and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.
SKU: CF.CAS60F
ISBN 9780825884252. UPC: 798408084257. 8.5 x 11 inches.
Alan Lee Silva's cinematic style of composition is loud and proud in Escape the Lost City, filled with action and adventure. A lovely, lyrical theme floats above more punchy, aggressive accompaniment.
SKU: CF.CAS111F
ISBN 9781491151679. UPC: 680160909179. 9 x 12 inches.
