SKU: FJ.ST6490
UPC: 241444411858. English.
The joy of the Christmas season flows through every measure of this delightful holiday reel that turns your violin section into Celtic fiddlers. Good King Wenceslas and Deck the Hall are intertwined with the classic reel Christmas Eve that will challenge and delight your players. Use optional bodhran (hand drum), guitar and pennywhistle to bring the true spirit of Scotland to your holiday concert.
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: KJ.SO320F
UPC: 8402703217.
The Dorian mode used in Interludium gives it the sound of the ancient past. Ms. Monday's arrangement stays remarkably true to Glazunov's original composition, however she has provided bowings and phrase marks to accommodate intermediate-level players. Interludium is a beautiful piece that will allow students to play with expression and sensitivity. A must for your library.
SKU: RM.JOUB02928-BA
ISBN 9790231029284.
Conducteur BT - Partie separee S.
SKU: RM.JOUB02928-CO
SKU: KJ.SO320C
ISBN 9788402703217. UPC: 8402703216.
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.
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.YAS10
ISBN 9780825848261. UPC: 798408048266. 8.5 X 11 inches. Key: D major.
When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody ofA Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course,A Roadrunner Rally ends with a loudly emphasized honking noise, theA beep that we associate with the humorous picture of the roadrunner.When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody ofA Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course,A Roadrunner Rally ends with a loudly emphasized honking noise, theA beep that we associate with the humorous picture of the roadrunner.When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners. The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.When traveling through the desert southwest of the United States, you may be fortunate enough to come across a strange looking brown and white streaked bird called the Roadrunner. It has a blue patch of skin circling the eyes, a tiny dot of bright red behind the eyes, a bushy crest on the top of its head and a long tail that bobs up and down. A member of the cuckoo family, it is New Mexico's state bird, and can run in bursts of speed from between ten to twenty miles per hour. Because it is equipped to run rather than fly, its feet are different from other bird species, having two toes in front and two toes in the back. Its tracks looks like the letter X. Although roadrunners can become airborne, they are basically ground birds and do not fly. They eat insects, scorpions, small rodents, birds, lizards and snakes. They do make noise when in danger; however, the clicks and clatters do not resemble the sound of a honking horn that we think of from the Hollywood cartoon version of roadrunners.The repeated notes in the opening melody of Roadrunner Rally will remind you of the sight of a roadrunner traveling along at breakneck speed. A crisp spiccato accompanied by pizzicato in the cello and bass paints the picture of the bird running through the desert. At m. 17 you will hear that raucous honk, honk that is associated with the roadrunner saying Out of my way! The syncopation can easily be learned by feel as well as by counting carefully. At m. 25 and similar passages, the first violins will have fun learning the jazz licks. The walking bass like at m.69 with the jerky sound of the octaves in the upper strings will remind you of the awkward appearance of this ungainly bird. And of course, Roadrunner Rally ends with a loudly emphasized honking noise, the beep that we associate with the humorous picture of the roadrunner.
SKU: FJ.ST6526
UPC: 241444434000. English.
The sprightly final movement of Respighi's Ancient Airs and Dances, Suite No. 1 is the perfect change of pace for any concert. Packing a ton of musicality in a short time, this arrangement is quite achievable yet incredible authentic. A wonderful way to let your principal section players shine while also engaging the entire orchestra.
SKU: CF.CAS7
ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
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