Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Violin, violoncello, piano

SKU: FG.55011-536-1

Composed by Kirmo Lintinen. Score and parts. Fennica Gehrman #55011-536-1. Published by Fennica Gehrman (FG.55011-536-1).

ISBN 9790550115361.

Comissioned by Juvenalia Music Institute for a chamber music competition in 2012, Patikka (Trek) for piano trio (2011) is a perfect chamber music piece for young players. Idiomatic writing and clear, memorable characters create a transparent texture. Kirmo Lintinen (b. 1967) is a man of many musical talents: composer, pianist and conductor. His catalogue encompasses almost all gen-res and categories of composition, from solo work to opera, and he operates with ease from one to another without being a crossover artist; in his case, the versatility is both internalised and innate. He often finds inspiration in French music of the 1920s and its intrinsic musicality. Humour and playfulness are characteristic elements of his music, as are a natural, musicianly approach and an enchantingly effervescent, even tongue-in-cheek texture.

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 1.5

SKU: CF.FAS94

Composed by Matt Turner. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+8 pages. Duration 2 minutes, 26 seconds. Carl Fischer Music #FAS94. Published by Carl Fischer Music (CF.FAS94).

ISBN 9781491142981. UPC: 680160900480. Key: D major.

This piece features percussive techniques utilizing: tapping, strumming, rubbing, and brushing on string instruments. The piece's title may be tongue-in-cheek, but it asks the student to focus on their rhythmic skills. It is a creative and interesting way to break up your concert and to improve the counting and rhythmic reading skills of players.
This piece features percussive techniques; tapping, strumming, rubbing, and brushing. The piece’s title may be tongue-in-cheek, but it is also informative as it advises against using knuckles (knocking) on the wood of the instrument. Instead, tap the wood on the top (front) of the instrument with two or three fingers. In m. 27, dampen the strings with the left hand and tap on the fingerboard with the right hand. In mm. 41–48, the viola is held like a guitar; the strings are dampened with the left hand, and the right hand strums. No pitches should sound. In mm. 77–80, the right hand rubs or brushes the front of the instrument. To prevent any damage, do not strike the instruments too hard.Focus on ensemble and dynamics; the sound will carry if the rhythms are executed precisely.

String orchestra (Violine 1, Violine 2, Violoncello 1, Violoncello 2, Kontrabass, Klavier (Viola 1, Viola 2 optional)) - easy to intermediate

SKU: M7.VHR-3883

Composed by Andrea Holzer-Rhomberg. Sheet music. Score and parts. 16 pages. Holzschuh Musikverlag #VHR 3883. Published by Holzschuh Musikverlag (M7.VHR-3883).

ISBN 9783864341274.

Der freche Piepmatz - dieses Musikstück hat einen 'neckischen' Charakter. In dieser Komposition können kurze Vorschläge, Synkopen, Artikulation, Pralltrillersowie der Wechsel zwischen den Griffarten geübt werden. Während die Stimmen von Violine 1, Viola 1 und Violoncello 1 herausfordernde Passagen beinhalten, können die Stimmen von Violine 2, Viola 2 und Violoncello 2 auch bereits von Schülern im ersten oder zweiten Lernjahr bewältigt werden. Auch diese Stimmen enthalten Melodien, nicht nur Begleitfunktion. Spielvoraussetzungen: Vl. 1: 1. und 3. Lage Vl. 2: alle Griffarten der 1. Lage Vla. 1 und 2: alle Griffarten der 1. Lage Vcl. 1: 1. bis 4. Lage. Diese Stimme kann bei Bedarf auch von der Viola 1 (1. Lage) übernommen werden. Vcl. 2: 1. Lage weit Kb.: 1. Lage Schwierigkeitsgrad: leicht bis mittelschwer.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS179

Composed by Bud Woodruff. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+5+2+5+5+3+12 pages. Duration 2 minutes, 18 seconds. Carl Fischer Music #YAS179. Published by Carl Fischer Music (CF.YAS179).

ISBN 9781491151440. UPC: 680160908943. 9 x 12 inches. Key: C major.

Bud Woodruff presents The Cat Is in the Kitchen, a tongue-in-cheek style piece with jazz influences that students enjoy playing. This quirky piece is designed to help students successfully navigate playing F-naturals and B-flats. Bud Woodruff draws on his lengthy career as a string educator to help students overcome the challenges in this piece.

I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.

I wrote The Cat Is in the KitchenA for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

A One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

A My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.

I wrote The Cat Is in the KitchenA for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

A One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

A My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.

I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.
I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished! One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved. My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.
I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished! One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved. My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

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

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS158

Composed by Various. Arranged by Deborah Baker Monday. Cas. Set of Score and Parts. Duration 3 minutes, 31 seconds. Carl Fischer Music #CAS158. Published by Carl Fischer Music (CF.CAS158).

ISBN 9781491165034. UPC: 680160923946. Key: G major.

Happy Holidays! is a crowd pleasing extravaganza to celebrate the spirit of the season. Featuring lots of familiar festive tunes and key changes, the music propels to a glorious finale for a fabulous holiday concert. Melodies are shared equally in all sections so students will be excited and engaged, including Deck the Hall, Jingle Bells, Jolly Old St. Nicholas, Good King Wenceslas, Dreidel, Trepak, 12 Days of Christmas, O Tannenbaum, Up on the Housetop, and We Wish You a Merry Christmas. Cheery and cheeky with many harmonic surprises, this festive treat is sure to be a delight at your winter concert!

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians