| Triangle of the Tempest - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS107 Composed by Alan Lee Silva. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+6+20 pages. Duration 4 minutes, 17 seconds. Carl Fischer Music #CAS107. Published by Carl Fischer Music (CF.CAS107). ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. An up-tempo 3â„4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 . 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
$60.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Quest - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe, Percussion 1 and more. - Grade 3 SKU: CF.CPS247 Composed by Patrick Glenn Harper. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+8+1+1+1+2+8+4+4+24 pages. Duration 4 minutes, 10 seconds. Carl Fischer Music #CPS247. Published by Carl Fischer Music (CF.CPS247). ISBN 9781491158364. UPC: 680160916962. 9 x 12 inches. The Quest aims to take the listener on an epic musical journey. Beginning with a sweeping cinematic melody that is restated at the conclusion of the piece, the music transitions into an up-tempo section that features a catchy ostinato bass pattern, and gives your percussion section a chance to shine. The slower middle section features the woodwinds, before expanding the simple chorale into the rest of the band. The final section of the piece sees a restatement of the adventure theme before accelerating into a rousing conclusion that will make for an exciting concert closer. Make sure that all dynamic crescendos and decrescendos are very pronounced in the performance of the piece. Take care not to let the ostinato bass pattern overpower the melody. The slow section beginning at m. 61 may be conducted in a rubato style for maximum musical expression. The tempo at m. 103 may be taken faster or slower than the marked tempo according to the skill level of the band. The Quest aims to take the listener on an epic musical journey. Beginning with a sweeping cinematic melody that is restated at the conclusion of the piece, the music transitions into an up-tempo section that features a catchy ostinato bass pattern, and gives your percussion section a chance to shine. The slower middle section features the woodwinds, before expanding the simple chorale into the rest of the band. The final section of the piece sees a restatement of the adventure theme before accelerating into a rousing conclusion that will make for an exciting concert closer.Make sure that all dynamic crescendos and decrescendos are very pronounced in the performance of the piece. Take care not to let the ostinato bass pattern overpower the melody. The slow section beginning at m. 61 may be conducted in a rubato style for maximum musical expression. The tempo at m. 103 may be taken faster or slower than the marked tempo according to the skill level of the band. $90.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Aspirations - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 0.5 SKU: CF.PAS19 Composed by Larry Clark. SWS FS. Primer String Orchestra. Set of Score and Parts. With Standard notation. 8+2+5+5+5+2+8+8 pages. Duration 2 minutes, 51 seconds. Carl Fischer Music #PAS19. Published by Carl Fischer Music (CF.PAS19). ISBN 9781491146347. UPC: 680160903849. 9 x 12 inches. Key: D major. Aspirations is written for the most beginning musicians. It uses minimal material, including no more than two repeated eighth notes as the most difficult rhythm. It contains bold fanfare gestures, marcato main melodic material, and a contrasting legato theme. Every section of the ensemble is featured in this sophisticated piece. Aspirations is written for the youngest and least experiences musicians, who have only had a short time on their instruments. This piece uses minimal material, including no more than two repeated eighth notes as the most difficult rhythm. When I composepieces for young people, I often try to pick titles that will be uplifting and inspiring. Certainly, we want our young musicians to aspire to great things through music.The pieces opens with a fanfare type of musical gesture. This material is the glue that holds the piece together. It should be played marcato throughout. The main melody then follows, first sparse and then with the full ensemble. A bridge section is presented that is legato that leads to a return of the main melody. Some development then begins with fragments of the melody taken by the lower strings followed by interjections by the upper strings on the opening fanfare material. After this development, the piece builds to one final full statement of the main melody and then a short coda based on the fanfare material to bookend the piece.As with all of my pieces for young students, I encourage you to adjust the tempo to fit this needs of your students. My tempo is only a recommendation and you should chose a tempo that best works for your students.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 ClarkLakeland, FL 2017. $48.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Quest [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Clarinet 1, Clarinet 2, Clarinet...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3 SKU: CF.CPS247F Composed by Patrick Glenn Harper. Sws. Cps. Full score. 24 pages. Duration 4 minutes, 10 seconds. Carl Fischer Music #CPS247F. Published by Carl Fischer Music (CF.CPS247F). ISBN 9781491158371. UPC: 680160916979. 9 x 12 inches. The Quest aims to take the listener on an epic musical journey. Beginning with a sweeping cinematic melody that is restated at the conclusion of the piece, the music transitions into an up-tempo section that features a catchy ostinato bass pattern, and gives your percussion section a chance to shine. The slower middle section features the woodwinds, before expanding the simple chorale into the rest of the band. The final section of the piece sees a restatement of the adventure theme before accelerating into a rousing conclusion that will make for an exciting concert closer. Make sure that all dynamic crescendos and decrescendos are very pronounced in the performance of the piece. Take care not to let the ostinato bass pattern overpower the melody. The slow section beginning at m. 61 may be conducted in a rubato style for maximum musical expression. The tempo at m. 103 may be taken faster or slower than the marked tempo according to the skill level of the band. The Quest aims to take the listener on an epic musical journey. Beginning with a sweeping cinematic melody that is restated at the conclusion of the piece, the music transitions into an up-tempo section that features a catchy ostinato bass pattern, and gives your percussion section a chance to shine. The slower middle section features the woodwinds, before expanding the simple chorale into the rest of the band. The final section of the piece sees a restatement of the adventure theme before accelerating into a rousing conclusion that will make for an exciting concert closer.Make sure that all dynamic crescendos and decrescendos are very pronounced in the performance of the piece. Take care not to let the ostinato bass pattern overpower the melody. The slow section beginning at m. 61 may be conducted in a rubato style for maximum musical expression. The tempo at m. 103 may be taken faster or slower than the marked tempo according to the skill level of the band. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Escapades [Score] - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS187F Composed by David Hinds. Young String Orchestra (YAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #YAS187F. Published by Carl Fischer Music (CF.YAS187F). ISBN 9781491151891. UPC: 680160909391. 9 x 12 inches. Escapades?is an adventurous and energetic composition written by David Hinds. A variety of articulation styles gives the piece character. The moving inner parts will appeal to every section of the orchestra, including the basses. This is a versatile piece suitable for concerts, festivals,?and contest. Escapades is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part. The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. EscapadesA is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part. The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. Escapades is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part. The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. Escapades is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part.The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. 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 $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Escapades - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS187 Composed by David Hinds. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+3+8 pages. Duration 2:40. Carl Fischer Music #YAS187. Published by Carl Fischer Music (CF.YAS187). ISBN 9781491151525. UPC: 680160909025. 9 x 12 inches. Key: G major. Escapades?is an adventurous and energetic composition written by David Hinds. A variety of articulation styles gives the piece character. The moving inner parts will appeal to every section of the orchestra, including the basses. This is a versatile piece suitable for concerts, festivals,?and contest. Escapades is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part. The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. EscapadesA is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part. The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. Escapades is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part. The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. Escapades is an adventurous and energetic composition in G major. Pay attention to staccato marks over both eighth and quarter notes. The E-minor melodic section at m. 37 should be played in a legato style. The energetic theme returns after the melodic section and has a strong ending that starts with a two-measure augmentation of the last theme. This is a fairly straightforward piece, and there are plenty of moving parts that appeal to all sections, including an interesting bass part.The indicated Allegro tempo is recommended but may be adjusted according to the needs of the students. The piano part is best used for rehearsal only. This is a versatile piece suitable for concerts, festivals and contests, and I am sure your students will enjoy playing it. 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 $55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (CF.W2682). ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major. Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key. The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| I Carry Your Song in My Heart Carl Fischer
Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2 SKU: CF.CM9628 ...(+)
Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2 SKU: CF.CM9628 Composed by Evan Ramos. Sws. Performance Score. 16 pages. Duration 3 minutes, 20 seconds. Carl Fischer Music #CM9628. Published by Carl Fischer Music (CF.CM9628). ISBN 9781491157008. UPC: 680160915569. 6.875 x 10.5 inches. Key: E minor. English, English. Original, Sarah Ramos & Robert Draper. Ramos has written a memorable tribute to a beloved teacher in I Carry Your Song in My Heart. For the advanced treble ensemble, the lush and captivating harmonies are sure to engage both singer and audience. With a wonderful it factor, it is a great find for concert or festival. A great music teacher's legacy is not measured by the festivals and conventions at which their students performed. It is not measured by the number of all-state performers or professional musicians their program generated. Nor is it measured by Teacher-of-the-Year awards or accolades. A great music teacher's legacy is found in the memories, the music, the life lessons, and the truths still resonating in the hearts of their students. I Carry Your Song in My Heart was created to celebrate the legacy of Cheryl Wilson, a great choir director, and the 'song' she imparted to her students. Robert Draper, her former assistant, wrote the first draft of the text which was further developed into its present form by Evan and Sarah Ramos. Performance Notes: Mm. 9-16: Be careful not to take this section too quickly. The section 'rhythms dance, phrases spin' is difficult to enunciate at too fast a tempo. Work with your singers to find a tempo that allows mm. 13-16 to 'dance' without feeling rushed. Mm. 37, 61: Keep the dotted eighth notes in these measures as legato as possible. M. 47: If you would like, accenting the dotted eighth notes is appropriate here. If you choose to perform this piece with Cello, feel free to adjust dynamics as needed for balance in the overall sound. A great music teacher’s legacy is not measured by the festivals and conventions at which their students performed. It is not measured by the number of all-state performers or professional musicians their program generated. Nor is it measured by Teacher-of-the-Year awards or accolades.A great music teacher’s legacy is found in the memories, the music, the life lessons, and the truths still resonating in the hearts of their students.I Carry Your Song in My Heart was created to celebrate the legacy of Cheryl Wilson, a great choir director, and the ‘song’ she imparted to her students. Robert Draper, her former assistant, wrote the first draft of the text which was further developed into its present form by Evan and Sarah Ramos.Performance Notes:Mm. 9-16: Be careful not to take this section too quickly. The section ‘rhythms dance, phrases spin’ is difficult to enunciate at too fast a tempo. Work with your singers to find a tempo that allows mm. 13-16 to ‘dance’ without feeling rushed.Mm. 37, 61: Keep the dotted eighth notes in these measures as legato as possible.M. 47: If you would like, accenting the dotted eighth notes is appropriate here.If you choose to perform this piece with Cello, feel free to adjust dynamics as needed for balance in the overall sound. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Great Plains Saga [Score] - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1 SKU: CF.BAS80F Composed by Joseph Compello. Beginning String Orchestra (BAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #BAS80F. Published by Carl Fischer Music (CF.BAS80F). ISBN 9781491151624. UPC: 680160909124. 9 x 12 inches. Joseph Compello's Great Plains Saga for the beginning string orchestra students depicts wide open spaces, rugged terrain, and covered wagons heading West through the American plains. Students will love playing this contest selection, written in a minor mode. This piece can be learned in as little as 10 weeks, yet showcases the students' abilities and growth. Great Plains Saga is an easy concert piece for a young string ensemble. The music should be performed in a manner which evokes the rustic openness of the American continent at the time when Native American tribes inhabited it. Accordingly, the music is modal and thus provides an ancient character to the melodies. The first theme appearing at m. 9 consists of six notes. It repeats at m. 17 in the cello part with a countermelody in the violins.  After a brief transition m. 25, the second section begins with a quiet two-measure phrase that is answered forte by the low strings.  This call-and-response episode continues until m. 43 where the transition to the opening theme begins. At m. 49 the director may wish to slow the tempo just a bit to give the music a heavier feel. The coda at m. 57 may be played freely and dramatically. 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: - Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
- Limited keys and rhythms - only simple 8th note patterns
- Limited independence of parts
- Playable after limited study time
- First position and natural bowings
- Piano for rehearsal and reinforcement
$6.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Oath of Honor - Beginner Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 0.5 SKU: CF.PAS15 Composed by Larry Clark. Primer String Orchestra. Set of Score and Parts. With Standard notation. 8+2+5+5+5+2+8+8 pages. Duration 2 minutes, 46 seconds. Carl Fischer Music #PAS15. Published by Carl Fischer Music (CF.PAS15). ISBN 9781491143261. UPC: 680160900763. Key: D major. A strong, bold piece built on fanfare gestures, this piece for very beginning strings uses techniques within the grasp of students with as little as ten weeks of study on an instrument. A majestic piece that should bring about the feeling of pride with its ceremonial and celebratory nature. The piece begins with a fanfare gesture using open harmonies, that leads to a sweeping main theme. There is a more subdued and lyrical second theme, followed by some interplay between sections. The fanfare material from the beginning serves as the transitional glue along with the intro and outro for the pieceto tie it all together.The piece is written for the youngest of students in mind with minimal notes and simple repeated eighth-note rhythms. As with all of my piece for beginning students, it is up to you, the teacher, to adjust the tempo of the piece to the needs of your students. My tempo marking is merely a suggestion.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 ClarkLakeland, FL 2016. $48.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The French Quarter - Beginner Carl Fischer
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Pian...(+)
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano - Grade 0.5 SKU: CF.BAS83 Arranged by Andrew Guarrine. Carl Fischer Beginning String Orchestra Series. Set of Score and Parts. 8+1+1+5+5+5+2 pages. Duration 1 minute, 52 seconds. Carl Fischer Music #BAS83. Published by Carl Fischer Music (CF.BAS83). ISBN 9781491159125. UPC: 680160917709. This standard for beginning strings has a new twist to it. The melody is much easier to teach in 4/4 rather than in 3/4. It is still in D major and contains no altered fingerings. The tempo marking is very playable by your younger students, and the dynamic marking is always f so that the orchestra can focus on the notes. The piece contains pizzicato and arco sections, with the melody in both the upper and lower strings. This easy three-part harmony arrangement has bowings marked and is a great piece to showcase strings when they are comfortable with the D major scale. This standard for beginning strings has a new twist to it. The melody is much easier to teach in 4/4 rather than in 3/4. It is still in D major and contains no altered fingerings. The tempo marking is very playable by your younger students, and the dynamic marking is always Æ’ so that the orchestra can focus on the notes. The piece contains pizzicato and arco sections, with the melody in both the upper and lower strings. This easy three-part harmony arrangement has bowings marked and is a great piece to showcase strings when they are comfortable with the D major scale. 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: - Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
- Limited keys and rhythms - only simple 8th note patterns
- Limited independence of parts
- Playable after limited study time
- First position and natural bowings
- Piano for rehearsal and reinforcement
$48.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Piano Bench Of Classical Music
Piano solo [Sheet music] Music Sales
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With fingerings. Renaissance, baroque, classical period, romantic period, impressionistic and 20th century. 400 pages. 9x12 inches. Published by Amsco.
(6)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Black Mast - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2 SKU: CF.YAS153 Composed by Peter Terry. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+10+16+4+10+3+5+12 pages. Duration 3 minutes, 2 seconds. Carl Fischer Music #YAS153. Published by Carl Fischer Music (CF.YAS153). ISBN 9781491143629. UPC: 680160901128. Key: D major. Black Mast conjures images of a dramatic life on the high seas of a pirate captain and crew. The music is in minor with angular melodies and contrast created through changes in tempo. A maestoso presentation of the theme leads to a dramatic conclusion. Black Mast conjures images of a dramatic life on the high seas in the service of a pirate captain and crew. The work opens with a dramatic introduction, followed by the main theme at m. 9. At m. 17 a secondary theme related to the primary melody emerges; the primary theme reappears at m. 25 in the violas and cellos. A briskersecond theme, at a faster tempo, derived from the introduction emerges in m. 33. This second theme alternates with a lyrical courtly dance theme beginning in m. 45. This section reflects the non-combative aspects of life at sea and the joy of moving before the wind. At m. 73 the piece returns to the vigorous first theme andthe secondary theme from m. 17 leading to a dramatic, swashbuckling ending.Care should be taken to contrast the robust music of the primary themes and the more dance-like music of the middle section. I am privileged to be able to share this work with you and your students. I hope that it serves to both entertain and educate.—Peter TerryBluffton, Ohio 2016. 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 $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Boar's Head Carol Carl Fischer
Choral TBB choir, piano SKU: CF.CM9589 Composed by English Carol. Arrange...(+)
Choral TBB choir, piano SKU: CF.CM9589 Composed by English Carol. Arranged by Jimmy Baas. Fold. Performance Score. 12 pages. Duration 2 minutes, 38 seconds. Carl Fischer Music #CM9589. Published by Carl Fischer Music (CF.CM9589). ISBN 9781491154113. UPC: 680160912612. 6.875 x 10.5 inches. Key: C major. English, Latin. English Carol. The Boars Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level mens chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queens hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  . The Boaras Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level menas chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text alaudes Dominoa building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1:A Quot estis in convivioA A A A A As you all feast so heartily Verse 2:A Let us servire cantico.A A A A A Let us serve with a song. Verse 3:A In Reginensi atrio.A A A A A A A A A In the Queenas hall. Chorus: Caput apri deferoA A A A A A A A A A Lo, behold the head I bring Reddens laudes DominoA A A Giving praise to God we sing.  . The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  . The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing.  . The Boar’s Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men’s chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide.The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text “laudes Domino†building up to the final verse with a slower, broader tempo as marked.Latin text translation:Verse 1: Quot estis in convivio     As you all feast so heartilyVerse 2: Let us servire cantico.     Let us serve with a song.Verse 3: In Reginensi atrio.         In the Queen’s hall.Chorus: Caput apri defero          Lo, behold the head I bringReddens laudes Domino   Giving praise to God we sing. . $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rocket Surgery - Easy Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cra...(+)
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3 SKU: CF.CPS256 Composed by Chris Campbell. Set of Score and Parts. 21+8+8+4+8+8+4+4+10+4+4+16+8+12+6+4+8+2+4+14 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS256. Published by Carl Fischer Music (CF.CPS256). ISBN 9781491159712. UPC: 680160918300. As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!. As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience! $85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Elegy for a Firefighter - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, String Bass, Trombone 1, Trombone 2, Trombone 3, Trumpet 1 and more. - Grade 4 SKU: CF.SPS87 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+4+2+2+2+8+8+4+2+4+4+2+2+2+2+3+3+3+4+4+4+4+3+3+3+6+4+4+2+2+1+1+1+1+4+24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87. Published by Carl Fischer Music (CF.SPS87). ISBN 9781491156445. UPC: 680160914982. 9 x 12 inches. About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-likeâ€); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. $100.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Elegy for a Firefighter [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe 1, Oboe 2, Percussion and more. - Grade 4 SKU: CF.SPS87F Composed by Jeremy Martin. Sws. Sps. Full score. 24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87F. Published by Carl Fischer Music (CF.SPS87F). ISBN 9781491156452. UPC: 680160914999. 9 x 12 inches. About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-likeâ€); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Elephant Concert band - Beginner Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS127 Composed by Peter Sciaino. Fol...(+)
Band concert band - Grade 1 SKU: CF.BPS127 Composed by Peter Sciaino. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1+1+2+2+12 pages. Duration 2 minutes, 39 seconds. Carl Fischer Music #BPS127. Published by Carl Fischer Music (CF.BPS127). ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches. Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended. Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended. Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended. $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mount Vernon Square Concert band - Easy Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250 Concert March. Composed...(+)
Band Concert Band - Grade 2 SKU: CF.YPS250 Concert March. Composed by Joseph Compello. Yps. Set of Score and Parts. 2+16+4+8+8+8+4+4+10+4+4+8+8+8+4+4+6+6+6+4+6+1+1+4+1+24 pages. Duration 2 minutes, 43 seconds. Carl Fischer Music #YPS250. Published by Carl Fischer Music (CF.YPS250). ISBN 9781491161333. UPC: 680160919925. Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march. Performance Notes The form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109. Mount Vernon Square derives its title from the location of the Peabody Conservatory of Music in Baltimore, Maryland. It was here that the composer Joseph Compello took his first classes in Music Theory from Professor Haven Hensler, to whom this march is dedicated. After hearing this march performed on piano as part of final exam requirements in a Music Theory course, Professor Hensler encouraged further exploration of music composition, leading Compello into a prolific career writing pieces like this theme, now years later arranged for full band as a concert march.Performance NotesThe form of the march is a standard A-BB-Trio-C-A. Melodically, much of the march is based on the figure contained in mm. 8 and 9. Tempo, articulation, and dynamics in a standard march style are essential to a successful interpretation. Pay particular attention to dynamics in the second strain at m. 41. Strive for a legato diminuendo at the transition in mm. 63-65. The melody in the Trio (m. 70) will also require smooth articulation from low brass and woodwinds. The Euphonium counter-melody will be played only during the repeat of the Trio. The Breakup Strain (m. 87) is, of course, powerfully marcato as is the reprise of the first theme at m. 109. $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Threefold - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone 1, Trombone 2 and more. - Grade 3 SKU: CF.CPS239 Composed by Richard Summers. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+1+4+4+24+4 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CPS239. Published by Carl Fischer Music (CF.CPS239). ISBN 9781491157855. UPC: 680160916450. 9 x 12 inches. The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition. Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated. The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated. $85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Threefold [Score] - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone 1, Trombone 2 and more. - Grade 3 SKU: CF.CPS239F Composed by Richard Summers. Sws. Cps. Full score. 24 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CPS239F. Published by Carl Fischer Music (CF.CPS239F). ISBN 9781491157848. UPC: 680160916443. 9 x 12 inches. The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition. Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated. The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sleep, My Child Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2 SKU: CF.YPS208 Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208). ISBN 9781491152287. UPC: 680160909780. Key: D minor. A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece. Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Nutcracker Suite Selections - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS110 Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+7+24 pages. Duration 5:57. Carl Fischer Music #CAS110. Published by Carl Fischer Music (CF.CAS110). ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor. Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. 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
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata in G minor [Score] - Easy Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: C...(+)
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: CF.YAS231F K.315. Composed by Domenico Scarlatti. Arranged by Yukiko Nishimura. Full score. 8 pages. Duration 2 minutes, 8 seconds. Carl Fischer Music #YAS231F. Published by Carl Fischer Music (CF.YAS231F). ISBN 9781491163139. UPC: 680160921881. Key: G minor. Domenico Scarlatti's Sonata in G minor, K.315 is a simple and elegant work from the Baroque period, featuring a characteristically short two-measure motif. Originally composed for keyboard, this arrangement for string orchestra skillfully works this theme into every section of the ensemble in a variety of ranges as it develops and expands. A wonderful introduction to Baroque style performance featuring staccatos and tenuto articulations and charming melodic counterpoint. The piece can be successfully performed at a slow or faster tempo, according to the ensemble’s ability. $8.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata in G minor - Easy Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: C...(+)
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: CF.YAS231 K.315. Composed by Domenico Scarlatti. Arranged by Yukiko Nishimura. Set of Score and Parts. Duration 2 minutes, 8 seconds. Carl Fischer Music #YAS231. Published by Carl Fischer Music (CF.YAS231). ISBN 9781491162798. UPC: 680160921546. Key: G minor. Domenico Scarlatti's Sonata in G minor, K.315 is a simple and elegant work from the Baroque period, featuring a characteristically short two-measure motif. Originally composed for keyboard, this arrangement for string orchestra skillfully works this theme into every section of the ensemble in a variety of ranges as it develops and expands. A wonderful introduction to Baroque style performance featuring staccatos and tenuto articulations and charming melodic counterpoint. The piece can be successfully performed at a slow or faster tempo, according to the ensemble’s ability. $55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Elephant Concert band [Score] - Beginner Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS127F Composed by Peter Sciaino. Sw...(+)
Band concert band - Grade 1 SKU: CF.BPS127F Composed by Peter Sciaino. Sws. Bps. Full score. 12 pages. Duration 2 minutes, 39 seconds. Carl Fischer Music #BPS127F. Published by Carl Fischer Music (CF.BPS127F). ISBN 9781491156216. UPC: 680160914753. 9 x 12 inches. Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended. Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Aeolus Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Trombone and more. - Grade 2 SKU: CF.YPS196 Composed by Joseph Compello. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+2+2+4+2+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS196. Published by Carl Fischer Music (CF.YPS196). ISBN 9781491152164. UPC: 680160909667. Key: C minor. Aeolus is the Greek mythological god of the winds. The title of this piece was chosen, in part, because of the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves are purely Aeolian. The compositional form bookends a broad and dramatic middle section with two sections in regal march style. Aeolus is sure to be a great teaching tool for young bands!. Aeolus is the god of the winds in Greek mythology. The title was chosen to indicate the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves a purely Aeolian. The opening section of the music should be performed in a march-like manner at a brisk tempo deemed appropriate by the director for the ensemble. The countermelody first heard at m. 31 should soar above the ensemble. The transition to the middle section at m. 49 should be played broadly and dramatically with careful attention to the ritardando dimuendo, both of which should be performed smoothly and gradually. Do not rush the fermata in m. 51. A sudden shift in tempo and dynamics in the transition will detract from the entrance of the contrasting theme played soli by the clarinet section at m. 52. The counter lines found in the contrasting middle section beginning at m. 53 will require careful attention to balance. The second transition section beginning at m. 79 requires a flexible tempo and a smooth blending of the horn line into the clarinet line. An effective,  unrushed rallentando at m. 81 will make the sudden forte entrance of the brass fanfare at m. 83 all the more dramatic. At m. 109, the tempo may begin to quicken at the discretion of the director. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Eclipse Galop Concert band [Score] - Easy C.L. Barnhouse
Grade 2 SKU: CL.011-4706-01 Composed by King. Arranged by Glover. Young C...(+)
Grade 2 SKU: CL.011-4706-01 Composed by King. Arranged by Glover. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR395). Extra full score. Composed 2018. Duration 1 minute, 41 seconds. C.L. Barnhouse #011-4706-01. Published by C.L. Barnhouse (CL.011-4706-01). Karl King was the undisputed master of writing music for the circus, and Eclipse Galop is accelerated fun for your band from start to finish! This arrangement for the Barnhouse Command series places this circus classic well in the grasp of middle school and less experienced high school bands. Playable at a variety of tempos, your band will enjoy seeing just how fast they can go! Terrific fun! About C.L. Barnhouse Command Series The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content. $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Chase the Horizon Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone and more. - Grade 2 SKU: CF.YPS197 Composed by John Pasternak. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+6+2+4+2+20+4 pages. Duration 3 minutes, 57 seconds. Carl Fischer Music #YPS197. Published by Carl Fischer Music (CF.YPS197). ISBN 9781491152171. UPC: 680160909674. Key: Eb major. Chase the Horizon is a musical journey depicting a lonesome cowboy riding on his horse, chasing the horizon. Composer John Pasternak has delivered a strong and musically rewarding piece for the young band. It begins with a nice legato section before setting off on the journey with a tuneful theme. The piece develops through several contrasting sections finishing in a dramatic conclusion. This piece is a story of new beginnings. While writing this piece I pictured a lonely cowboy riding on his horse, chasing the horizon. The beginning for this piece should have a very legato feel except for the Xylophone part, which should use a very abrupt, staccato articulation. Measure 9 should take on a staccato and light feel. The feeling should remain light except for the instruments with the melody, who should play their parts with a more legato feel. Dynamics throughout this first section are crucial. All parts at m. 22 should play with a legato style with focus on the dynamics. The trumpet interjection at m. 25 should be played very light. At m. 32 there should be contrast with all the different styles of articulation. Measure 42 should not slow down too quickly as the group should not ever get slower than the tempo marking at m. 49.The slow section at m. 49 should be played soft with a legato style growing gradually through m. 61. The articulation at m. 61 should be short and staccato, and be careful not to rush. The sections with the melody here should contrast the staccato of the ensemble with a legato style. When the ensemble arrives at m. 78 the piece should have a maestoso-style feel. The rit. at m. 88 should not become slower than the tempo at m. 92. At m. 92, let the horns and saxophones really shine through. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Nutcracker Suite Selections [Score] - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS110F Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CAS110F. Published by Carl Fischer Music (CF.CAS110F). ISBN 9781491151662. UPC: 680160909162. 9 x 12 inches. Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble. 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
$9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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