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.
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.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: 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: CF.FAS39
ISBN 9780825863301. UPC: 798408063306. 8.5 X 11 inches. Key: D major.
Virginia Croft's experience as a string player and educator is evident in the care with which she has scored this beautiful folk tune idiomatically for young string players. Relatively easy to play, Skye Boat Song is a great opportunity to develop lyrical playing habits with a developing string group.Here is a very playable setting of a beautiful Scottish folk song. It commemorates one of the most exciting moments in Scottish history in the middle of the eighteenth century during the Jacobite Rebellion. At this time, a small group of men escaped by night in a tiny boat across the rough sea to the Isle of Skye to save the life of the young lad whom they believed to be the rightful heir to the throne of Scotland.As you play this music, can't you feel the boat rocking and the oarsmen straining at their posts against the sea? The long diminuendo from m. 51 to the end passes the final melodic fragment down through the voices until the small boat has vanished into the distance, leaving only the water.The words of the original folk song are:Speed, bonnie boat, like a bird on the wind;Hark, how the seagulls cray!Carry the lad that was born to be kindOver the sea to Skye!.
SKU: CF.FAS35
ISBN 9780825861079. UPC: 798408061074. 8.5 X 11 inches. Key: G major.
Your orchestra will really sparkle with this sempre pizzicato piece. So, put down the bows and enjoy this tuneful original piece from award winning educator Virginia Croft. A real treat!.Sparklers is a lively adventure in pizzicato technique, in which every string voice takes an important role along the way. The middle section at m.20, in which the little motives are passed rapidly among the sections of the orchestra, may offer some counting challenges to your students and will certainly keep them alert! Put down your bows and sparkle!
SKU: FJ.ST6464
UPC: 241444397312. English.
This treasured Baroque aria provides young string players with an opportunity to develop beautiful tone, vibrato and intonation in the key of B-flat. Solemn and stately, the melodic phrases are shared between the upper strings, while the cello and bass experience the responsibility of the basso continuo, making each note a pearl of musical beauty while setting the foundation for the harmonies in the inner voices.
About FJH Developing Strings
Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5
SKU: FJ.ST6464S
English.
SKU: FJ.ST6425
UPC: 241444375600. English.
Borrowing a tune form Vincenzo Galilei, father of the famous astronomer Galileo, Respighi brings a bright and energetic taste of the Renaissance to the concert hall. Triple meter, irregular melodic patterns, dotted rhythms, independence of voices, contrasting textures and dynamics are all studied in this wonderful work by a master composer.
SKU: FJ.ST6252S
Experience Celtic festivals, maypoles, and country fairs in this spirited and lively piece. Set in an easy 6/8 time, players are transported back to a time of ancient dances and celebrations in Ireland. The lower voices begin with bagpipe drones as violins take on the first theme. Infectious melodies and secondary themes complete this endearing piece. Students have a chance to work on bow distribution, hooked bowing, pizzicato and dynamics.
SKU: KJ.SO324F
UPC: 8402703250.
Two versions in one set! This piece will show off your string orchestra in grand style or it can be the perfect vehicle to present your violinists. Originally composed in the Late Renaissance Period for men's voices, this polyphonic work will become a fast favorite.
SKU: KJ.SO324C
UPC: 8402703249.
SKU: KJ.SO354C
UPC: 084027043912.
Originally composed by Franz Schubert for four voices (SATB) and piano in 1892, this arrangement honors the tuneful phrases he was best known for. Set in the key of G Major, all parts can be played in 1st position except for a few passages found in the 1st violins. Duration: 2:30.
SKU: KJ.SO354F
UPC: 084027043936.
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