SKU: BT.DHP-1094713-070
ISBN 9789043131919. 9x12 inches. English-German-French-Dutch.
The De Haske String Orchestra Series offers attractive pieces especially composed and arranged for string orchestras. Students and teachers are treated to a great variety of musical styles. Each part presents a challenge to the player. The Viola part can be replaced by a 3rd Violin part, and the Double bass part can be replaced by a 2nd Cello part. The Piano part is mainly meant for support, but it occasionally adds new motifs as well.
Classical Highlights is a collection of six arrangements of classical themes dating from 17th to 19th century. The parts have been kept easy and attractive; at the same time they stay close to the original.De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.
Classical Highlights is een verzameling arrangementen van klassieke thema’s die dateren uit de 17e tot en met de 19e eeuw. De partijen zijn eenvoudig en aantrekkelijk geschreven: tegelijkertijd blijven de arrangementen dicht bij het origineel. Die De Haske String Orchestra Series bietet attraktive, speziell fu r StreichÂorchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.
Classical Highlights enthält Bearbeitungen von sechs klassischen Themen aus der Zeitspanne vom 17. bis zum 19. Jahrhundert. Die Stimmen wurden einfach und ansprechend gestaltet und sinddoch zugleich getreu dem Original. Die Ausgabe enthält ein Rigaudon von Henry Purcell, das berühmte Menuett aus der Feuerwerksmusik von Händel, ein Andante von Haydn (das Thema mit dem berühmten Paukenschlag), das Thema aus Beethovens Violinkonzert, Das große Tor von Kiew aus Bilder einer Ausstellung von Modest Mussorgsky und schließlich noch España von Waldteufel und Chabrier. De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.
Classical Highlights est un recueil qui réunit six arrangements de grands thèmes classiques du XVIIe au XIXe siècle. Les parties sont motivantes et facilement accessibles, explorant avec justesse l’oeuvreoriginale. De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Classical Highlights è una pubblicazione che raccoglie sei arrangiamenti di grandi temi classici del XVII e XIX secolo. Brani motivanti e facilmente accessibili, che rendono onore all‘originale.Tracce Demo:1. Rigaudon2. Minuet3. Andante4. Allegro5. Great Gate of Kiev6. EspanaPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come†nel menu.
SKU: CF.FAS26
ISBN 9780825854811. UPC: 798408054816. 8.5 X 11 inches. Key: D major.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teachingA pizzicato playing as a melodic device. Most often,A pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the mainA pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing theseA pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of theseA pizzicatoA lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teachingA pizzicato playing as a melodic device. Most often,A pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the mainA pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing theseA pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of theseA pizzicatoA lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless.Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.
SKU: BT.PWM4901
Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969), the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident, above all, in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem, while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations, emblematic for the whole piece and based on a constant, pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante), while retaining its concertato charakter, is, at the same time, an example of the composers ability to create emotionally serene lyrical moods, and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music, understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music, the constant mutabilityof the tonal situations, and the sophisticated, acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska, translated by Ewa Cholewka].
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: BT.DHP-1094711-070
ISBN 9789043131872. 12 X 9 inches. English-German-French-Dutch.
The Oregano Suite is a flavoursome mix of delightful Italianate music.De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.
Jos van den Dongen liet zich door Italië inspireren toen hij deze vierdelige suite schreef.Die De Haske String Orchestra Series bietet attraktive, speziell fu r StreichÂorchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.
The Oregano Suite ist eine originale, italienisch inspirierte Suite in vier Sätzen.De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.
The Oregano Suite est un délice de couleurs et de parfums d’Italie !De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. Ogni pubblicazione è accompagnata da un CD che contiene una versione demo dei brani. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Tracce Demo:1. Spaghetti Blues2. Italian Bossa3. Tango Verona4. Sicilienne TarantellaPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come†nel menu.
SKU: FJ.ST6537
UPC: 241444438824. English.
Depicting a scenic drive up the historic first road in Rocky Mountain National Park, this highly accessible work is based on a D major scale with stepwise motion in all parts and string crossings on open strings. Musical motifs are shared throughout the ensemble as the beauty of nature takes center stage in this peaceful, yet joyful work.
About FJH Beginning Strings
Appropriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: FJ.ST6537S
English.
SKU: BT.DHP-1094612-070
ISBN 9789043131636. 12 X 9 inches. English-German-French-Dutch.
The four pieces in Sunny Strings allow the string orchestra to sound predominantly sunny in mood. Have fun playing together!De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.
Sunny Strings is een moderne suite vol verbluffende effecten in vier delen.Die De Haske String Orchestra Series bietet attraktive, speziell fu r StreichÂorchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.
Sunny Strings ist eine moderne, vorwiegend heitere Suite aus der Feder von Nico Dezaire voll verblu ffender Effekte in vier Sätzen.De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.
Sunny Strings contient quatre petits imprimés fleuris aux mille et une couleurs du soleil. Le bonheur est dans l’interprétation !De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. Ogni pubblicazione è accompagnata da un CD che contiene una versione demo dei brani. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Tracce Demo:1. A Sunny Day2. Sunday Party3. Sunny Blues4. The Ghost of TomPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come†nel menu.
SKU: BT.DHP-1094712-070
ISBN 9789043131858. 9x12 inches. English-German-French-Dutch.
In Folk Express, the string orchestra travels the world in a tearing rush: from Ireland (Slippery Road Jig) to the USA (Paradise Polka), followed by a sudden landing in the heart of the Balkan (Heading East fromBelgrado). De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.
Folk Express bestaat uit drie originele werken in folk-stijl van Jos Koning.Die De Haske String Orchestra Series bietet attraktive, speziell fu r StreichÂorchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.
Folk Express sind drei originale Stu cke im Folk-Stil von Jos Koning.De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.
Folk Express réunit tous les ingrédients pour réussir un tour du monde express en trois étapes.De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. Ogni pubblicazione è accompagnata da un CD che contiene una versione demo dei brani. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Tracce Demo:1. Slippery Road Slip jig2. Paradise Polka3. Heading east from BelgradPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come†nel menu.
SKU: BT.DHP-1094710-070
ISBN 9789043131865. 12 X 9 inches. English-German-French-Dutch.
Fiddle Tunes presents five traditional Irish fiddle tunes in easy arrangements.De De Haske String Orchestra Series biedt u aantrekkelijke, speciaal voor strijkorkest gecomponeerde en gearrangeerde werken. De stukken zijn geschreven in verschillende stijlen: van klassiek en folk tot moderne, populaire muziek. Iedere partij is zo geschreven dat elke speler in het orkest een uitdaging heeft. De partij voor altviool kan door een derde viool worden vervangen. De partij voor contrabas kan ook door een tweede cello worden gespeeld. De pianopartij dient als ondersteuning, maar voegt soms ook nieuwe motieven toe aan de muziek.
Fiddle Tunes is een verzameling van vijf traditionele Ierse Fiddle Tunes in eenvoudige bewerkingen.Die De Haske String Orchestra Series bietet attraktive, speziell fu r StreichÂorchester komponierte und arrangierte Stu cke in einer stilistischen Vielfalt von Klassik u ber Folk bis zu modernen U-Musikstilen. Jede Stimme stellt dabei besondere Herausforderungen an die Spieler. Die Violastimme kann durch eine dritte Violine und der Kontrabass durch ein zweites Cello ersetzt werden. Die Klavierstimme dient zur Unterstu tzung, fu gt aber zuweilen auch neue Motive hinzu.
Fiddle Tunes präsentiert fu nf traditionelle irische Fiddle Tunes in leichten Bearbeitungen.De Haske String Orchestra Series : Les compositions et les arrangements réunis sous ce label sont en parfait accord avec le niveau ciblé, et proposent des styles très variés. Chaque publication est accompagnée d'un compact disc contenant la version de démonstration des œuvres publiées dans cette collection. L’instrumentation est toujours la même : Violons 1 & 2, Alto (ou Violon 3), Violoncelle, Contrebasse (ou Violoncelle 2) et Piano.
Fiddle Tunes contient cinq « fiddle tunes » (airs pour violon) irlandais.De Haske String Orchestra Series è una nuova raccolta pensata per i suonatori di archi principianti. Le composizioni e gli arrangiamenti raccolti sotto questa etichetta sono perfetti per chi inizia a suonare e prongono stili variegati. Ogni pubblicazione è accompagnata da un CD che contiene una versione demo dei brani. La strumentazione è sempre la stessa: violino 1 & 2, viola (o violino 3), violoncello, contrabbasso (o violoncello 2) e piano.Tracce Demo:1. Kerry Polka2. Fly Around3. Shady Grove4. Irish Washerwoman5. Pretty Little SallyPer effettuare il download delle tracce demo, clicca sul titolo selezionato e scegli “Salva come†nel menu.
SKU: HL.4492593
UPC: 840126926378. 9.0x12.0x0.258 inches.
This string orchestra arrangement by Robert Longfield of the theme from the popular Star Wars spin-off series has all the rhythmic drive of the original while keeping the music accessible. In D minor, â??this is the wayâ? to help your students learn to play F-naturals and B-flats!
SKU: CF.YAS15
ISBN 9780825851995. UPC: 798408051990. 8.5 X 11 inches. Key: D minor.
Lower strings be sure to maintain a steady pulse and dont rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 121. If the soloist is comfortable using third position, play mm. 119 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and donat rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1a21. If the soloist is comfortable using third position, play mm. 1a19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don't rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1-21. If the soloist is comfortable using third position, play mm. 1-19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don’t rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1–21. If the soloist is comfortable using third position, play mm. 1–19 and the first half of m. 20 one octave higher.All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance.String editing by Amy Rosen.
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.CAS3
ISBN 9780825844881. UPC: 798408044886. 8.5 X 11 inches. Key: D major.
A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playingA Willow-Wood Copse, you may wish to work on the studies that accompany the piece.A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds.If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel.A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse.To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.
SKU: CF.BAS24
ISBN 9780825854736. UPC: 798408054731. 8.5 X 11 inches. Key: D major.
An excellent tool for teaching cooperation to beginning string orchestra, this piece features bold contemporary harmonies with simple rhythms and a light and uplifting feel that is sure to keep the interest of your students. All of the melodic and harmonic structures are based on the first 6 notes from the D Major scale giving the beginning student a manageable tonal and technical framework. Sure to be a hit at concerts or festivals!
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.BAS28F
ISBN 9780825858055. UPC: 798408058050. 8.5 X 11 inches. Key: D major.
From the pen of Larry Clark, noted educational composer, comes this delightful work for young players. The piece features a stately feel typical of the Old West with smart tempo variations and a strong lyrical melody all based on D major patterns.
SKU: CF.BAS19F
ISBN 9780825851803. UPC: 798408051808. 8.5 X 11 inches. Key: D major.
Here's an easy original that is enjoyable for both the players and the audience. Using notes the students already know, the tune moves from D major to B minor, uses pizzicato, and other techniques to keep the music lively and appealing.
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.
SKU: CF.BAS6F
ISBN 9780825845116. UPC: 798408045111. 8.5 X 11 inches. Key: D major.
This is an ideal piece for early string orchestra. Although it can be played by any student.
SKU: CF.BAS18F
ISBN 9780825851780. UPC: 798408051785. 8.5 X 11 inches. Key: D major.
The dignity and pageantry of so much British music for orchestra is capÂtured in this solid work for strings. The straightforward melodic lines are supported by clean, full harmonies; and the polyphonic texture is highlightÂed in a contrasting key in the middle portion of the work. Strong lines and rhythms bring the piece to a solid conclusion.String editing by Amy Rosen.
SKU: CF.BAS3
ISBN 9780825840838. UPC: 798408040833. 8.5 X 11 inches. Key: D major.
Bold and melodious, St. Lawrence Overture is a fine example of a musical piece at the earliest performance level. Simple double stops, limited technical demands and rhythms that stay with half notes and quarter notes will facilitate preparing this effective selection with the youngest of ensembles. Duration: 2'20.
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: FJ.ST6465
UPC: 241444397480. English.
Written after Mendelssohn visited Fingal's Cave off the coast of Scotland, this music showcases the composer's comment that it is in pictures, ruins and natural surroundings that I find the most music. Throughout the overture, one feels the undulation of the sea, the swirling waters washing up onto the formation, and the mesmerizing enchantment of his experience. (3:15).
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.ST6465S
Written after Mendelssohn visited Fingal's Cave off the coast of Scotland, this music showcases the composer's comment that it is in pictures, ruins and natural surroundings that I find the most music. Throughout the overture, one feels the undulation of the sea, the swirling waters washing up onto the formation, and the mesmerizing enchantment of his experience.
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