SKU: CF.CAS42
ISBN 9780825867071. UPC: 798408067076. 8.5 X 11 inches. Key: D major.
This popular piece for solo violin and piano has been skillfully arranged by string pedagogue Doris Gazda. A standard piece in the repertoire, it adapts quite well to the string orchestra. This is an excellent piece for an advancing group.A rondo is a musical form that was commonly used by composers from the classical through the romantic music periods. It was often the form used for the last movement of a sonata, a symphony, a concerto or a piece of chamber music.The rondo form consists of a main theme (part A) that recurs with contrasting sections (parts B, C, D and so on) in between. The contrasting sections can change key and can change from major to minor tonality. A typical form of a rondo might be ABACADABA. It is usually written in triple meter, and is lively and joyful in character. Beethoven used the rondo form quite often, and Fritz Kreisler, the famous violinist and composer, found a Beethoven melody and turned it into this “little rondo,†or rondino, written originally for violin and piano.This arrangement for string orchestra can also be played by a small string ensemble. It should be played with a light style of bowing so as to give it a happy, lilting quality.
SKU: KN.KCS2201
12 x 9 inches.
SKU: FJ.ST6439
UPC: 241444385678. English.
Showcase your strong players in this arrangement that features solo quartet passages throughout. The music is exciting and engaging without overtaxing the rest of the ensemble, yet everyone remains involved. This is pure Telemann and will be received by your audience with sheer delight!
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: FJ.ST6373S
English.
The combination of Vivaldi and Bach is true magic. The same can be said of this spectacular arrangement of the fugue from the first movement of L'estro Armonico 11, which Bach arranged for his Organ Concerto in D Minor. Combining the best of both versions, this arrangement explores some brilliant contrapuntal writing.
SKU: AP.36-50255107
ISBN 9781682963944. UPC: 660355060243. English.
An absolute classic for strings, this version is in C major to avoid forward extensions for viola and violoncello. There is nothing out of first position except for a simple shift for violoncello and bass in a brief passage. A solo string quartet section gives the work a truly Baroque feel.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: FJ.ST6042S
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: KJ.SO291C
UPC: 8402702688.
Baroque Variants is a string orchestra piece that draws upon the stylings of J.S. Bach but sets these features to modal harmonies and modern rhythms. The motif of the piece comes from Bach's Brandenburg Concerto No. 3. However, while Bach starts his motif with an anacrusis (pick-up), in Baroque Variants this rhythmic idea begins on the beat and is the first thing heard. There is a fugal exposition in the middle of the piece (m. 25) that pays homage to Bach's wonderful counterpoint. The piece then moves into a challenging string quartet texture in m. 48 and comes back with a flurry to end on the original Brandenburg motif.
SKU: KJ.SO291F
UPC: 8402703237.
Baroque Variants is a string orchestra piece that draws upon the stylings of J.S. Bach but sets these features to modal harmonies and modern rhythms. The motif of the piece comes from Bach's Brandenburg Concerto No. 3.However, while Bach starts his motif with an anacrusis (pick-up), in Baroque Variants this rhythmic idea begins on the beat and is the first thing heard. There is a fugal exposition in the middle of the piece (m. 25) that pays homage to Bach's wonderful counterpoint. The piece then moves into a challenging string quartet texture in m. 48 and comes back with a flurry to end on the original Brandenburg motif.
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