SKU: BA.BA11564
ISBN 9790260109148. 31 x 24.3 cm inches. Key: B-flat major. Preface: David R. Beveridge.
The discovery of a lost source to AntonÃn Dvorák's â??Nocturneâ? in B major op. 40 provides new insights into the genesis of the composition and the composer's intended final form of this lyrical little piece for string orchestra.The musical material of what was later to be named â??Nocturneâ? was initially elaborated in the String Quartet in E minor; subsequently it was used in the original version of the String Quintet in G major as its second movement. However Dvorák then extracted it again, expanding and editing it afresh. The final result was the â??Nocturneâ? for string orchestra (two violins, viola, violoncello, double bass). The first edition was published by Bote and Bock in 1883.The authorized second copy of the work that had served as a template for the first printing was discovered by the editor Jonáš Hájek in a privately owned collection. This enabled him to resolve the several ambiguities caused by the existence of multiple versions and to unveil the authentic â??Nocturneâ?.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: SU.80603960
Includes Score & Set of Parts (8-7-6-5-4)String Orchestra Composed: 1961 Published by: E.B. Marks.
SKU: FJ.ST6542
English.
Major or minor? Natural or harmonic? B? or B?? These are the questions posed in this jaunty 6/8 tune that explores contrasting D Major and D minor modalities. In addition to its musical value, use this work to teach advanced finger patterns that will provide students with a solid understanding of the fingerboard and accidentals. A lively and spirited work that is sure to keep your students and audience engaged and entertained.
SKU: FJ.ST6542S
SKU: AP.36-52250220
ISBN 9781628763812. UPC: 746241267627. English.
Every section of the orchestra gets to play melodic passages, even the basses in this Grade 2.5 original work. Set in B minor with a syncopated feel, the accompaniment features tied rhythms across the bar and first violins shift to easy 3rd position.
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: CF.YAS19
ISBN 9780825854859. UPC: 798408054854. 8.5 X 11 inches. Key: D major.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yetA legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerfulA divisi voicing on beat 3 of m. 63, right before the final chord.Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
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.CAS37
ISBN 9780825863660. UPC: 798408063665. 8.5 X 11 inches. Key: C major.
A salute to the famous sailboat race, this rollicking piece in A minor introduces compound time with an opening (and closing) section in 12/8. The fast flowing music of the opening, vividly suggestive of a ship slicing through the waves, returns in a higher key (B minor) after a warmly scored, sweepingly melodic middle section. This is a piece whose sophistication is an excellent showcase for a more advanced performing group.Written in 12/8 in A minor, America’s Cup evokes the intensity and momentum of a wild sea with driving triplets, sweeping melodies, and accented downbeats. The A-material from the opening measure is played aggressively but lightly enough to keep the feeling of forward motion. Strong accents and rhythmically precise playing in the cello and bass provide solid support for the fast moving violin and viola passages. Measure 67 begins the slow, pastoral setting of the B-material. A gentle, lyrical violin motive in A major grows into a high, sweeping melody over sustained harmonies. This provides a brief repose before returning to the fastoriginal tempo and minor key as the recapitulation begins at m. 90. A modulation to B minor (m. 94) lifts the energy of the piece and gives young players the challenge of playing the running lines in another key. Measure 118 builds to the end, keeping the intensity a soft dynamic and growing into the final syncopated tutti unison figure in mm. 122–123.
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: BO.B.3292
English comments: This is the definitive version of Biogenesis, a piece that Cervello had written in 1976, together with his friend Jorge Wagensberg, and which was awarded the First Prize at the Spanish Ministry for Education and Science's Permanent Composition and Musical Research Competition. The new version was made at 1984-85 Lux et umbra is written for a string group consisting of four first and four second violins, three violas, three cellos and a double bass. The conceptual battle between darkness and light is represented by the instability between the notes B and C, and by the compartmentation of the group of fifteen strings into divisi that provide an independent arrangement for each instrument, thus bestowing great substance upon the texture of the music. A cello cadence emerges from a slow and straightforward beginning. A process of contrasts then begins, culminating in a molto vivace passage of a scherzando nature, which alludes to the Baroque concerti grossi. The music once again plays with chiaroscuro until reaching its climax, from which point the conclusion slowly begins, establishing itself in the high register until fading away. The work was first performed at Barcelona's Palau de la Musica by the English Chamber Orchestra, directed by Enrique Garcia Asensio, in 1987. That same year, in the newspaper El Pais, the observations of the composer and critic Francesc Taverna-Bech paid tribute to the work's intelligence as regards the use of and search for instrumental resources (in this case, string instruments, about which Cervello knows a great deal), the skill involved in endowing the lyrical line with tension, and a singular touch that confers formal essence upon the musical discourse. In La Vanguardia, Jordi Llovet wrote that this is a work in which, as is the case with most of Cervello's compositions, the listener finds something covertly religious, a mysterious secret, a transcendence linked to the origins of communication requiring more than a single being, which provides excitement. In 1990, when the Orquesta de Granada (Orchestra of Granada) performed the work at Barcelona's Grec festival, the critic Cesar Calmell opined, in the same newspaper, that inch by inch, surely and imperturbably, Cervello built up a perfect world that reflects the image of the craftsman who, so astonished at the delights of his trade, is unable to do anything but turn the very backdrop of tragedy into something pleasant. Lux et umbra was recorded by the Orchestra Estatal of the Hermitage, conducted by Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Music criticComentarios del Espanol:Se trata de la version definitiva de Biogenesis, obra que habia escrito en 1976 en colaboracion con su amigo Jorge Wagensberg y que obtuvo el Primer Premio, en el ano de su creacion, en el Concurso Permanente de Composicion e Investigacion Musical del Ministerio de Educacion y Ciencia. La nueva version fue realizada en 1984-85. Lux et umbra esta escrita para un grupo de cuerda integrado por cuatro primeros violines, cuatro segundos, tres violas, tres violoncelos y un contrabajo. El combate filosofico entre la oscuridad y la luz lo lleva a cabo la inestabilidad entre las notas si y do y la compartimentacion del grupo de quince cuerdas en unos divisi que llegan a una escritura independiente para cada instrumento, otorgando una gran importancia a la textura sonora. De un principio lento y descarnado emerge una cadencia del violonchelo. A continuacion da comienzo un proceso de contrastes que culmina en un pasaje molto vivace de caracter scherzando que alude a los concerti grossi del barroco. La musica juega de nuevo con el claroscuro hasta llegar a la cumbre sonora iniciando el final lentamente que se instala en el registro agudo hasta desvanecerse. La estreno en el Palau de la Musica de Barcelona la English Chamber Orchestra en el ano 1987 bajo la direccion de Enrique Garcia Asensio. Ese mismo ano, en el periodico El Pais, el compositor y critico Francesc Taverna-Bech reconocia en sus comentarios la inteligencia en el uso y la busqueda de los recursos instrumentales -en este caso la cuerda, de la que Cervello es profundo conocedor-, la destreza para revestir de tension la linea lirica y un tacto particular para conferir entidad formal al discurso sonoro. Jordi Llovet, en La Vanguardia, escribia que en esta obra, se encuentra, como en la mayor parte de la produccion de Cervello, algo secretamente religioso, un arcano misterioso, una trascendencia vinculada a los origenes de la comunicacion impracticable con el ser unico que resulta apasionante. En el ano 1990, cuando la Orquesta de Granada la toco en el Grec de Barcelona, era el critico Cesar Calmell quien, en el mismo periodico consideraba que Cervello construyo palmo a palmo, segura e imperturbablemente, un mundo perfecto que refleja la imagen del artesano que, de tan admirado con las delicias de su oficio, no puede hacer otra cosa que convertir en agradable el fondo mismo de la tragedia. Lux et umbra esta grabada por la Orquesta Estatal del Hermitage, dirigida por Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Critico musical.
SKU: CF.FAS27
ISBN 9780825854835. UPC: 798408054830. 8.5 X 11 inches. Key: D major.
The title depicts the uplifting nature of the piece that inspires young players to have confidence and respect while living with character and integrity. The music is characterized by strong melodic intervals of fourths and fifths and dynamic contrasts, a Larry Clark signature that has made his music so popular. In addition, every player is an important part of the music. This is a perfect showpiece for developing groups for concerts or festivals.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values.A Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece. I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again. The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program. LARRY CLARK Lakeland, Florida 2004.As a former teacher I always tried to use the experience of playing in an ensemble to teach students about being good people first b having confidence, being respectful, living with character and integrity. I choose to write music with titles that will stimulate students to strive for this high standard and I have tried to write pieces that will somehow musically depict these values. Integrity is one such piece.I hope you will find the main theme to be uplifting and with musical integrity, but within the reach of developing students. My themes usually are characterized by strong melodic intervals of fourths and fifths and this piece is no exception. It is also my goal when writing music for younger students to provide every section in the ensemble a chance to play important melodic material at some point in the piece. In my humble opinion, if students are given music they like to play they will want to practice it over and over again.The tempo markings and bowings indicated are only there as a guide and should be adjusted to the needs of your students.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students find it useful for your program.LARRY CLARKLakeland, Florida 2004.
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.
SKU: BT.EMBZ14570
Hungarian-English-German-French.
Following the Renaissance volume, this time it is Baroque works (more precisely, transcriptions of Baroque vocal and instrumental works) that are presented in the Leggierissimo series, extending the repertoire of junior string orchestras. Roughly half of the selection consists of well-known pieces by the greatest composers of the period (Purcell: Dido and Aeneas, Rameau: Pi ces de clavecin, Händel: Water Music, Music for the Royal Fireworks, J.S. Bach: B major partita, C major orchestral suite), but works by composers less well known nowadays (for example, G. Böhm and J. C. F. Fischer) are also included, together with such unusual items as Polish, German and Hungarian dancesfrom 17th- and 18th-century Hungarian manuscripts: the Kájoni and Vietórisz codexes, and Eleonóra Lányi s music book. Nach dem Renaissance-Band erscheint die Leggierissimo-Serie nunmehr mit Barockwerken (genauer: mit Transkriptionen nach vokalen und instrumentalen Barockwerken), die das Repertoire der Kinderstreichorchestern erweitert. Etwa die Hälfte der Sammlung machen die Stücke der allgemein bekannten Werke der größten Komponisten der Epoche (H. Purcell: Dido und Aeneas, J. Ph. Rameau: Pi ces de clavecin, G. F. Händel: Wassermusik, Feuerwerksmusik, J. S. Bach: Partita B-Dur, Ouverture C-Dur) aus. Es kommen in ihr aber auch Stücke von heute weniger bekannten Komponisten (G. Böhm, J. C. F. Fischer u.a.), daneben als Besonderheit polnische, deutsche und ungarische Tänze aus dem 17. und 18.Jahrhundert aus dem Kájoni- und Vietórisz-Kodizes und aus dem Notenbuch der Eleonora Lányi vor.
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: CF.YAS45
ISBN 9780825863462. UPC: 798408063467. 8.5 X 11 inches. Key: A major.
Two Daughters is a flowing and impassioned composition dedicated to the composer's daughters that gives the young string orchestra ample chances to display its lyrical abilities. Several solo passages vary the texture, which displays Alan Lee Silva's usual flair for lush contemporary harmonic writing.From the poignant, heartwarming violin melody at m. 5, to the soaring ensemble climax at m. 61, Two Daughters is a flowing, lyrical composition with a wide dynamic range. Written in AABA form with a bridge, the delicate introduction sets up a legato violin solo at m. 5. The piece builds to the singing B-section (m. 21) and returns again to the gentle A-melody (m. 29). The cello is featured in m. 37 under a soft, high string sustain. Two modulations (mm. 37 and 52) move seamlessly and build excitement to the bridge, highlighted by alternating melodic phrases. The slower ending section (m.69) is played with intensity, featuring more sixteenth-note passages. The final two measures return to the sweet, gentle feeling of the introduction.
SKU: CF.FAS21
ISBN 9780825853067. UPC: 798408053062. 8.5 X 11 inches. Key: B minor.
Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. 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 Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. 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 Clark New York, NY 2003.Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece.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 ClarkNew York, NY 2003.
SKU: KN.08476S
UPC: 822795084764.
This beautiful Latin piece contrasts a lyrical A theme and a rhythmic B theme with convincing results. It gives everyone a chance to shine, especially violas and cellos when they carry the melodic lead in the B section while violins play pizzicato. Though the parts for piano, percussion (claves, maracas) and bells that come in each set are optional, their use will definitely enhance the style and flavor of the music. Duration 2:00. Available in SmartMusic.
SKU: FJ.ST6543S
Inspired by the composer's frequent visits to Montana, this musical tribute honors the grand landscapes of the state, including stunning mountain views and clear blue skies. Portraying everything from the breathtaking scenery to massive thunderstorms, this piece is an ideal way to explore the beauty and fury of Earth's towering skies. An optional timpani part adds a great deal to the work.
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
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