SKU: CF.FAS26
ISBN 9780825854811. UPC: 798408054816. 8.5 X 11 inches. Key: D major.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teachingA pizzicato playing as a melodic device. Most often,A pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the mainA pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing theseA pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of theseA pizzicatoA lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teachingA pizzicato playing as a melodic device. Most often,A pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the mainA pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing theseA pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of theseA pizzicatoA lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless.Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.
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.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.
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: FJ.ST6042S
English.
Originally written for two violins, this adaptation works very well for string orchestra. A slow introduction provides excellent opportunities to work on bow control, intonation, and tone production. The Allegro section teaches canonic imitation through exciting conversational exchanges between the different sections of the orchestra. Another fine arrangement from Robert D. McCashin.
About FJH Developing Strings
Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5
SKU: XC.ISO2002
UPC: 812598034356. 9 x 12 inches.
This charming new work for developing string orchestra is great for showcasing your sections. Each section has a feature in this light-hearted new tune, making it not only a wonderful teaching piece but a great work for concert programs.
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.
SKU: CF.YAS59
ISBN 9780825866937. UPC: 798408066932. 8.5 X 11 inches. Key: D major.
Virginia Croft has taken a popular German canon and transformed it into a stunning new piece for young string groups. It begins with the canon as is, and then adds two other composed themes that complement the original tune. With its largely contrapuntal composition, this piece is an excellent opportunity for students to develop their independence.“All things shall perish from under the skyMusic alone shall live, music alone shall live,Music alone shall live, never to die.â€Here is an exciting treatment of a well-known simple canonic melody, first stated in its entirety by the cellos. As it passes through the voices, it should predominate over the accompanying embellishments, resulting in an energetic and exciting presentation of an old tune.What a wonderful way to teach the harmonic aspects of canonic melody while offering a lively and enjoyable experience for both performers and audience.
SKU: FJ.ST6481S
Feature this amazingly authentic arrangement of a Baroque masterpiece! Two movements from Handel's Water Music Suite No. 2 highlight some of the most famous music from the Baroque era while falling well within the technical capability of a young orchestra. Wonderful music with a vast amount of teaching opportunities!
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: FJ.ST6481
UPC: 241444400890. English.
SKU: KJ.93F
ISBN 9780849733451.
Level 2 builds on the concepts introduced in level 1 by opening with a review of the major and minor fingering patterns on all four strings. Attention throughout the method is given to presenting material that makes use of the entire tonal range of the instrument in the first position for the upper strings, and the first three positions for the lower strings. Five ensembles and two duets round out Level 2. Suitable for concerts, the ensembles include America; We Shall Overcome; Amaryllis; Surprise Symphony Theme; and Military March. Suitable for any class size or instrumentation, all string parts have the melody and one harmony part. The Teacher Score/Keyboard books for Levels 1 and 2 include piano accompaniments for much of the program music and ensembles. Especially composed for educators with modest piano-playing skills, the accompaniments can also be played by piano students who wish to become involved in the ensemble experience.
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