SKU: KN.9744
UPC: 822795097443.
This soprano aria from Wolfgang Amadeus Mozart's opera The Marriage Of Figaro in the key of D major, contains some interesting modulations and is playable by grade 2 groups. Much of the charm of this piece results from Mozart's creative and brief exploration of many tonal centers, and is a great example how a composer can take a relatively simple tune and provide a great deal of interest through imaginative harmonies. Each set includes three copies of the 3rd Violin/Viola T.C. part and an optional piano part. Duration 2:40. Available in SmartMusic.
SKU: KJ.SO211F
All players have interesting parts and have a chance to explore finger patterns found in the key of C major. The 1st violin part includes 4th finger.
About Artistry in Strings
Artistry in Strings is a groundbreaking string method that will be at home in your classroom or private studio. Its comprehensive approach contains all the basic tools necessary to establish solid technique and expressive music making. Artistry in Strings is a music educator's dream, combining a performance-centered approach with optional theory, composing, listening, assessment, and interdisciplinary and multi-cultural studies.Authors Robert S. Frost, Gerald Fischbach, and Wendy Barden have combined their vast experience as educators to provide a string method that is well paced for all types of beginning string classes. Regardless of class frequency and duration, or class size and student age, Artistry in Strings will assist you to achieve superior results.
SKU: CF.YAS56F
ISBN 9780825866883. UPC: 798408066888. 8.5 X 11 inches. Key: C major.
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.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.
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: CF.BAS31
ISBN 9780825860874. UPC: 798408060879. 8.5 X 11 inches. Key: C major.
One of the most recognizable folk songs of all-time is presented in a fine new Doris Gazda arrangment for beginning strings. Optional part for bells, tone blocks or chimes will give you the opportunity to involve other students in performing with the string orchestra.The Volga River is the longest river in Europe (about 2,300 miles long) and the principal waterway of Russia. The Volga has played an important part in the life of the Russian people, and in Russian folklore is called Mother Volga. For centuries it has served as the chief thoroughfare of Russia and as the lifeline of Russian colonization to the east. It carries one-half of the total river freight of Russia and irrigates the vast steppes of the lower Volga region. Grain, building materials, salt, fish and caviar (from the Volga delta and the Caspian Sea) are shipped upstream; lumber is the main commodity shipped downstream.The folk song The Volga Boatman is supposed to represent the rhythmic rowing of the hard-working oarsmen who took their boats and rafts up and down this long waterway. The boats carried goods for trade, travelers and the armies and invaders who fought throughout the Russian lands.Close your eyes while you listen to the song. Imagine that you have a boat carrying grain and fish for a long distance. Then pretend you are rowing your boat in rhythm to the melody.
SKU: KN.KEN10049
UPC: 822795100495.
This introduction to Act 3 of the opera Carmen by Georges Bizet is a very melodic and lyrical piece. Arranged here at the grade 4 level in the key of D major, each set includes three copies of the 3rd Violin/Viola T.C. part. Duration 3:00. Available in SmartMusic.
SKU: CF.CAS18
ISBN 9780825855016. UPC: 798408055011. 8.5 X 11 inches. Key: F major.
A truly masterful fantasy on an English folk song, this piece shows the exceptional musical development found in many of the greatest classical symphonies. The fantasy is roughly in the style of the classical rondo (ABACA) and features fine counterpoint and engaging melodies. This piece can be played in an orchestral and quartet setting and is both challenging and fun to play.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends!I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins:There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin....The tune is rollicking and words are amusing, and yes, eventually they worked out their problems!The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies.This composition may be performed by a string orchestra or solo string quartet.- Douglas Townsend.
SKU: KJ.SO109C
Written in the style of Haydn and Mozart, this composition features the keys of C and G Major, imitative motives and a variety of dynamics. Grade 1 1/2, 2:45.
SKU: KJ.SO109F
SKU: CF.YAS50
ISBN 9780825863561. UPC: 798408063566. 8.5 X 11 inches. Key: C major.
Another fine rock-styled selection by the gifted Matt Turner that offers young players the chance to perform improvised solos with the ensemble. The basic framework of the piece is a lively and inventive use of simple rock progressions and standard rock rhythms.
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: CF.CAS39F
ISBN 9780825863714. UPC: 798408063719. 8.5 X 11 inches. Key: C major.
Rich in colorful writing for the string orchestra, Dark Catacombs has the feeling of a sonic adventure in a legendary world, with striking contrasts in texture and style, between marcato and legato playing. Full of memorable melodies and interesting contrapuntal writing, this is a selection that will expand the musical horizons of the players.
SKU: CF.CAS22
ISBN 9780825858208. UPC: 798408058203. 8.5 X 11 inches. Key: G major.
The fast paced rondo has a Dorian flavored melody with hints of quartel (based on an interval of a fourth) harmony to give it a contemporary sound The players are presented with solo opportunities as well as harmonic turns and twists that will keep them.Rondo in the Nick of Time was originally the third movement for a woodwind quintet piece that I wrote in 1990. I have always been fond of this little piece and felt that it would adapt well to larger ensembles. I have also scored this piece for band as part of a suite called Upon a New Horizon.The main theme is based on the Dorian Mode. The use of quartal harmony makes up most of the harmonic material. Each statement of the theme is followed by an episode that increases in length each time. There is a sudden change of style and tempo in the middle of the piece, where fragments of the theme are developed. The title is a play-on-words, since the work contains hemiola effects that alter the feel of the time.As with all of my pieces for strings, the bowings are given only as a reference. Feel free to alter them to fit the needs of your students. I have indicated a rather fast tempo for the piece. I really like the piece to fly, but it will work and sound fine at a slower tempo as well. Just endeavor to keep their energy moving forward.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students enjoy it and find it useful in your program.-Larry ClarkLakeland, FL. 2005.
SKU: CF.CAS29
ISBN 9780825860959. UPC: 798408060954. 8.5 X 11 inches. Key: C major.
A programatic work by composer Doris Gazda that sets out to depict the historic moon landing by the Apollo 11 astronauts and the famous first step by Neil Armstrong. A sound portrait of this remarkable event in America history.In July, 1959 the world watched and listened as the astronauts of Apollo 11 traveled from the Earth to the moon. The mission, launched by NASA, successfully carried men to the surface of the moon and returned them safely to earth. The spaceship was made up of a command module, Columbia, and a lunar module, Eagle. Astronauts Neil Armstrong, flight commander, and Buzz Aldrin, pilot of the lunar module, actually walked on the moon. The third astronaut, Michael Collins, piloted Columbia, the command module that orbited the moon while Armstrong and Aldrin were on the lunar surface.The 238,000-mile trip to the moon took four days. Apollo 11 fell into orbit 60 miles above the moon's surface. The Eagle separated from Columbia, orbited the moon nine miles above the surface and then made a powered descent, touching down on the moon in the Seat of Tranquility. Six hours after landing, Armstrong stepped onto the moon's surface uttering these memorable words that brought to reality the possibilities of space travel and exploration, That's one small step for man, one giant leap for mankind.Armstrong and Aldrin spent two hours walking on the lunar surface. They set up some scientific equipment, raised an American flag and left a plaque signed by the Apollo 11 crew and President Richard Nixon, reading:Here men from planet earth first set foot upon the moon. July 1969 A.D. We came in peace for all mankind.Twenty-one hours after landing, the Eagle with Armstrong and Aldrin onboard, left the moon to reunite with Columbia. After docking successfully, all three men got into Columbia. They jettisoned the Eagle and Columbia left lunar orbit to make the return trip. Two days later Columbia re-entered the Earth's atmosphere and splashed down in the Pacific Ocean.
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: KJ.SOP2C
UPC: 8402700226.
Kingsbride March is a processional march in the style of Elgar or Walton. It features the keys of G and C Major, and triplet and dotted quarter/eighth rhythms are predominant. This piece requires no shifting.
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