SKU: CF.YAS27
ISBN 9780825858345. UPC: 798408058340. 8.5 X 11 inches. Key: G major.
From the Rocky Mountains to the Pacific Ocean, Path to the Pacific reflects the open, airy and picturesque qualities of the American West. These textures are painted through the use of light syncopation, key modulations and triplets that will certainly ch.From the opening driving cello melody to the final ensemble flourish, Path to the Pacific is an exciting and rewarding piece for young players to play.The accents in the cello during the lively introduction at m. 1 are integral to the feel of the melodic line and provide an engaging technical challenge. The AAB form begins as the piece decrescendos to the quiet ‘A’ section at m. 9, featuring violin 1 with a singing, lyrical melody.The robust, joyous ‘B’ section is played with intensity, but still legato. The return to the ‘A’ material at m. 37 features the Cello. The 2nd statement of the ‘B’ material at m. 45 is highlighted by a refreshing tonal shift to the key of E then back to the key of ‘G’ before the crescendo to the fermata in m. 58.The active cello theme from the introduction returns in the A Tempo section at m. 59 at a piano dynamic. This begins the build to the maestoso section at m. 71. Measures 63-70 are the most aggressive bars of the composition. Strive for rhythmic precision when approaching the quintal harmony in m. 63-64, the accented figures in m. 65-67, and the triplet figures in m. 68-69. A rich, resonant tone from the full ensemble will make the maestoso section in m. 71 move powerfully to the final bar.
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: 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.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: CF.FAS43
ISBN 9780825863387. UPC: 798408063382. 8.5 X 11 inches. Key: E minor.
Titled by the students of J. T. Lambert Middle School in East Stroudsburg, PA, which commissioned the original version for band, this brilliant, heavily accented piece emphasizes rhythmic alertness and attention to dynamic contrasts. Bold fanfare writing alternates with lyrical writing of considerable warmth and the spiccato style of playing is introduced.The title for Dance of the Thunderbolts was suggested by students at J. T. Lambert Middle School in East Stroudsburg, Pennsylvania. This piece was originally commissioned for the sixth-grade band at the school in 2003 and has now been transcribed for string orchestra. The students specifically asked for the piece to be “a strong powerful piece with lots of accents and a strong abrupt ending.†As you can see and hear, the piece contains many of these aspects. After the title was suggested I came up with the thunderbolt dance section of the piece first stated at m. 24. Later during the compositional process I decided to frame this theme with a more lyrical theme, but one that still contains the sparkle of the staccato ostinato that is layered together with the elongated theme. Following the thunderbolt dance at m.24 is a short interlude to soften the sound before a return of the theme in fragments traded between different sections and in different tessituras. The lyrical theme returns and is followed by “a strong abrupt ending†as suggested by the students. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2007.
SKU: CF.CAS10
ISBN 9780825847615. UPC: 798408047610. 8.5 X 11 inches. Key: G major.
With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unisonA forte, which suddenly drops toA piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.
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: AP.31511S
UPC: 038081353135. English.
For centuries, mankind has been fascinated by the rings that surround the second largest planet in our solar system. This well-crafted original work musically captures the mystery and immense beauty of these magnificent celestial phenomena. Solidly scored for your young players and sure to be a favorite of students and audiences alike.
About Orchestra Expressions
Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.
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