SKU: BT.DMP114100
SKU: WD.080689667237
UPC: 080689667237.
This soulful anthem with a compelling groove will have your entire congregation lifting their hands in pure, jubilant worship. Arranged and orchestrated by Bradley Knight, Think About You is filled with bold assurance of the Lord’s strength and mercy through the many trials and tribulations we face each day. This anthem will remind each individual of the freedom, hope, joy, and never-failing promises that come when we focus all of our thoughts on Jesus!
SKU: CF.CAS115F
ISBN 9781491151716. UPC: 680160909216. 9 x 12 inches.
Composer Yukiko Nishimura presents Songbird, written for string orchestra in her signature fresh compositional style. After a short introduction, the main theme is a Siciliano-like melody, a dance in 6/8 time, followed by a brilliant and lively section. The melody makes use of long phrasing balanced by many wonderful countermelodies.Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.SongbirdA is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about A the agroove of what is comfortable and appropriate in performing.SongbirdA is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about A the agroove of what is comfortable and appropriate in performing.Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end.The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.
SKU: CF.CAS115
ISBN 9781491151341. UPC: 680160908844. 9 x 12 inches. Key: B minor.
SKU: JK.01915
UPC: 093285019157.
This beautiful children's song, written by talented songwriter, Pam Peterson, expresses how the quietest feeling of peace flows into our hearts as we think about Jesus and how we love Him. Arranged for piano and unison children's choir with optional solo.And so I think about JesusAnd how I love HimAnd how I want to be with Him somedayAnd when I think about JesusI get the quietest feelingI know that quietest feeling is peaceComposer: Pam PetersonDifficulty: EasyDuration: approx. 2:40Scripture References: Mark 4:39; John 14:27; Doctrine and Covenants 6:36Find the recording of this song on Spotify and Apple Music.The Quietest Feeling Song Kit, an invaluable teaching resource, is also available HERE and includes the sheet music and many helpful teaching resources, including the wonderful artwork of Susan Fitch.Think About JesusThe Quietest FeelingQuiet Feeling.
SKU: CF.BAS84F
ISBN 9781491159309. UPC: 680160917884.
Lauren Bernofsky wants young string players to love playing music, from the very beginning of their studies. Therefore, she likes writing early-level pieces that are fun, yet pedagogically helpful. On a Swing is played on only open strings, so students can focus on their bow holds and bowing without having to think about left-hand fingers. The piece gets its harmonic and rhythmic interest from the piano part. This work is dedicated to Sandy Mutchler, who fondly remembers her dear friend, the strings pedagogue Linda Luebke. The title and feel of the piece reflect the times they spent together on a porch swing. The back-and-forth motion of the swing is imitated in the up-and-down bows. Students should think of a relaxed, swinging motion with their bodies as they play this piece.Lauren Bernofsky wants young string players to love playing music, from the very beginning of their studies. Therefore, she likes writing early-level pieces that are fun, yet pedagogically helpful. “On a Swing†is played on only open strings, so students can focus on their bow holds and bowing without having to think about left-hand fingers. The piece gets its harmonic and rhythmic interest from the piano part. This work is dedicated to Sandy Mutchler, who fondly remembers her dear friend, the strings pedagogue Linda Luebke. The title and feel of the piece reflect the times they spent together on a porch swing. The back-and-forth motion of the swing is imitated in the up-and-down bows. Students should think of a relaxed, swinging motion with their bodies as they play this piece.
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.BAS84
ISBN 9781491159132. UPC: 680160917716.
SKU: CF.CPS240F
ISBN 9781491157879. UPC: 680160916474. 9 x 12 inches.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
SKU: CF.CPS240
ISBN 9781491157862. UPC: 680160916467. 9 x 12 inches.
SKU: CF.CM9635
ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).
Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.†The singer should make a motion as if they have a paintbrush in their hand and “paint†the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
SKU: GI.G-10054
ISBN 9781622774548.
We all need creativity in our lives. It is key to our happiness. Music, according to author Clint Randles, is one of the best ways to feed our longing for self-growth through engagement in creative processes. And music brings us together for the purpose of making beauty with sound. It provides us with a pathway to the good life. In To Create, Randles answers the critical question: What can I do with my time that will give me the best chance at achieving daily happiness? This amazing book unpacks what it means to engage in creative processes. Since story is the best way of feeding our imagination, the book unfolds by way of life stories that express the author’s unique perspective of the hero’s journey. Along the way, Randles inspires us to think about creativity and music as a pursuit that is not only truly worthy, but accessible. He addresses rules for creative performance, what we can learn from exceptional musicians and teachers, the link between spirituality and creativity, understanding our own stories in light of the meta-story, and the art of trust and starting small. To Create is a book that is unlike anything written on the topic—entertaining, wise, inspiring, and layered. It is for anyone who is interested in pursuing creativity through music but can’t quite figure out how or where to start. States Randles: “It is my hope that you will be able to imagine the good life through music, that you will be inspired To Create!†Clint Randles, PhD, is Associate Professor of Music Education at the University of South Florida, husband, father, multi-instrumentalist, and passionate lover of music.  Full of resonating stories, To Create is a profoundly pedagogical book about potential pathways into life’s learnings through and in music. To Create seeks and embraces the value embodied in the multiple, individual, and sociocultural authoring of diverse creativities. By analogising the good life (‘eidaimonia’), with lived-through experiences by which our desire (and drive) to create, to grow, to navigate, and to achieve extraordinary things in life is inextricably linked, Clint Randles stories his own journey of being awakened ‘To Create,’ by creating and living ‘the good life’ in and through the symbiotic domains of music and music education. —Pamela Burnard, Professor of Arts, Creativities and Educations   University of Cambridge, UK To Create is the rare achievement that seamlessly blends how-to curriculum with why-so philosophy, making the case that creative activity is an essential right that all children deserve from an education in music. Randles’ vivid illustrations prod us to think differently about teaching when well-being—when the good life—is both destination and design. —Randall Everett Allsup, Professor of Music Education   Teachers College Columbia University Randles takes readers on a real and figurative road trip during which he demonstrates how to live life to its fullest by embracing creativity and repeating a mantra of possibility. He shows us how the good life is achievable, walking readers through deeply personal accounts of creativity in everyday situations over a lifetime. This book binds the individual and cultural, imaginative and practical, tangible and intangible, light and dark, yin and yang. It’s all about the power of three, weaving through everything the vital, intangible element of spirituality, energy, chi to achieve eudaimonia. Through the lens of his experiences as a musician and teacher, the author celebrates relentlessness and hard work, providing a window into what it means to engage in the good life. Open that window to hear life’s call to adventure! —Gareth Dylan Smith, Assistant Professor of Music Education   Boston University Professor Randles’ stimulating book prompts memory of the seminal work of Joseph Schumpeter who suggested the importance of creative deconstruction in a democracy. Both authors focus on attaining the good life through a fuller understanding of the logic of the process of change—change that is driven by knowledgeable and innovative entrepreneurs. The immediate application of Randles’ suggested dynamic creativity processes applies to both teacher education and professional development, although both he and Schumpeter advance general ideas in creativity designed to achieve the highest level of human growth. —Richard Colwell, Professor Emeritus of Music Education   University of Illinois at Urbana-Champaign In recent years, Aristotle’s concept of ‘Eudaimonia’—meaning Happiness in the robust sense of full human flourishing (a life of joy, fellowship, self-growth, meaningfulness, ethical ‘good work,’ and more)—has entered and transformed the philosophy and practice of music education. To Create: Imagining the Good Life through Music is a highly original, emotional, practical, and exciting journey through the natures and values of creativity in/for music education and life itself. —David J. Elliott, Professor of Music and Music Education   New York University.
SKU: LP.765762095922
UPC: 765762095922.
Celebrate Christmas Jamaican style! Kids will love this musical filled with songs that groove to a Caribbean beat. Based around a theme of giving, the message of this musical is perfect for the Christmas season. * Kids will love the upbeat songs with a Caribbean flavor. * Message of giving makes kids think about how they can help others during the Christmas season. * International theme teaches kids about other cultures and gets them thinking about missions.
SKU: LP.765762003736
UPC: 765762003736.
Celebrate Christmas Jamaican style! Kids will love this musical filled with songs that groove to a Caribbean beat. Based around a theme of giving, the message of this musical is perfect for the Christmas season. * Kids will love the upbeat songs with a Caribbean flavor. * Message of giving makes kids think about how they can help others during the Christmas season. * International theme teaches kids about other cultures and gets them thinking about missions. The Director's Resource DVD contains: * The Director's Notebook on CD-ROM for printing out. * Choreography directions and an ensemble performing the entire work. * Production ideas and set designs or models.
SKU: LP.765762003538
UPC: 765762003538.
SKU: CF.CPS265
ISBN 9781491161289. UPC: 680160919871.
Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.Remembrance was written in November 2018. “In remembrance of what it took for us to be here...†was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
SKU: CF.YPS245
ISBN 9781491159910. UPC: 680160918508.
In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors. This piece is very personal to me, and I appreciate you playing the composition.In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors.This piece is very personal to me, and I appreciate you playing the composition.
SKU: CF.YPS245F
ISBN 9781491159927. UPC: 680160918515.
SKU: CF.CPS265F
ISBN 9781491161753. UPC: 680160920440.