(Full Score and Parts). By Alan Lee Silva. String orchestra. For String Orchestra. Carl Fischer Concert String Orchestra Series. Classical. Medium Easy/Medium. Score and Parts. Standard notation. 16 pages. Published by Carl Fischer . Score and Parts. classical.

Composed by Max Bruch (1838-1920). Solo Part with Piano Reduction and CD. With Standard notation. 16 pages. Carl Fischer #B003433. Published by Carl Fischer

For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (1778-1837). Edited by Elisa Koehler. Arranged by Elisa Koehler. Romantic. Score and part(s). With Standard notation. 36 8 pages. Carl Fischer #W002681. Published by Carl Fischer (CF.W2681).

Composed by Bill Calhoun. Score and part(s). 24 136 pages. Duration 4 minutes, 22 seconds. Carl Fischer #YPS0165. Published by Carl Fischer (CF.YPS165).

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

SKU: CF.CAS138F

Composed by Todd Parrish. Carl Fischer Concert String Orchestra Series. Full score. 12 pages. Carl Fischer Music #CAS138F. Published by Carl Fischer Music (CF.CAS138F).

ISBN 9781491160794. UPC: 680160919390.

Named for the west wind, this grade 3 original work makes use of quarter and eighth note triplets to depict a sense of swirling motion. A forward moving theme is passed between sections in the orchestra accompanied by a steady, march-like staccato pulse. The opening B minor theme rises and falls, giving way to a faster, rhythmic section in D major. Ascending and descending scale passages are exchanged between voices with a light, springy spiccato. The music swells with crescendos and decrescendos portraying the sweeping ebb and flow of the wind. The primary minor theme returns with a dramatic unison statement in the violins, shifting modally as it builds to a momentous finale. An excellent piece for working on extended finger patterns, bowing styles, and dynamic changes.
Named for the west wind, this grade 3 original work makes use of quarter and eighth note triplets to depict a sense of swirling motion. A forward moving theme is passed between sections in the orchestra accompanied by a steady, march-like staccato pulse. The opening B minor theme rises andfalls, giving way to a faster, rhythmic section in D major. Ascending and descending scale passages are exchanged between voices with a light, springy spiccato. The music swells with crescendos and decrescendos portraying the sweeping ebb and flow of the wind. The primary minor theme returns with a dramatic unison statement in the violins, shifting modally as it builds to a momentous finale. An excellent piece for working on extended finger patterns, bowing styles, and dynamic changes.

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

Band Bass Clarinet, Bassoon, Cabasa, Clarinet 1, Clarinet 2, Claves, Congas, Drum Set, Euphonium, Euphonium T.C., Flute 1, Flute 2, Güiro, Horn, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3 and more. - Grade 2

SKU: CF.YPS222F

Composed by Ed Kiefer. Sws. Yps. Full score. 20 pages. Duration 2 minutes, 34 seconds. Carl Fischer Music #YPS222F. Published by Carl Fischer Music (CF.YPS222F).

ISBN 9781491156636. UPC: 680160915170. 9 x 12 inches.

Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love! Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can't dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don't cover up the winds. Remember, it's a dance. Have fun! Kiefer.ed@gmail.com Facebook: The Music of Ed Kiefer.
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix.Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can’t dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don’t cover up the winds. Remember, it’s a dance. Have fun!Kiefer.ed@gmail.comFacebook: The Music of Ed Kiefer.

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

SKU: CF.CAS115F

Composed by Yukiko Nishimura. Concert String Orchestra (CAS). Full score. With Standard notation. 12 pages. Carl Fischer Music #CAS115F. Published by Carl Fischer Music (CF.CAS115F).

ISBN 9781491151716. UPC: 680160909216. 9 x 12 inches.

Composer Yukiko Nishimura presents Songbird, written for string orchestra in her signature fresh compositional style. After a short introduction, the main theme is a Siciliano-like melody, a dance in 6/8 time, followed by a brilliant and lively section. The melody makes use of long phrasing balanced by many wonderful countermelodies.
Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.
SongbirdA is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about A the agroove of what is comfortable and appropriate in performing.
SongbirdA is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about A the agroove of what is comfortable and appropriate in performing.
Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.
Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.
Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end. The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.
Songbird is composed in a standard ABA form. After a short introduction the main theme is a siciliano-like melody, which is a dance in 6/8 time. A brilliant and lively second section follows in m. 41. The melody has a long phrasing, and many of the countermelodies are hiding in each part. From m. 106, there is a short coda, where the tempo becomes increasingly faster until the end.The most important thing to consider when performing this music is to feel the beat as duple time. Always think about the groove of what is comfortable and appropriate in performing.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 4

SKU: CF.CAS102

Composed by Peter Terry. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 16+4+10+16+10+10+4+16 pages. Duration 5:29. Carl Fischer Music #CAS102. Published by Carl Fischer Music (CF.CAS102).

ISBN 9781491146620. UPC: 680160904129. 9 x 12 inches. Key: A minor.

Blindsight is the ability of certain blind people to respond to visual stimuli or can be used to describe the ability of people who lose their sight to still form images when they dream. This piece, Blindsighted, contrasts an intensely rhythmic ostinato with freer lyrical material creating rich textures that will both teach and inspire.
Blindsight is the ability of some people who are blind to respond to visual stimuli that they cannot consciously see, for instance to accurately track motion . It also is used to describe the ability of people who lose their sight to still form images when they dream .Musically, Blindsighted contrasts an intensely rhythmic ostinato with freer lyrical material . This contrast in textures should be highlighted to create rich contrasts between rhythm and lyricism . The middle section at m . 67 should sing freely and should contrast with the rhythmic drive that surrounds it . Measures 87 to 105 are at a faster tempo, but should start to pick up sonic intensity and more rhythmic drive as they proceed, while still remaining essentially lyrical . The section starting in m . 105 gradually intensifies the rhythmic energy, culminating at m . 113 with a return of the opening material . The work concludes with a dramatic drive to the end starting at m . 129 .I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts .

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

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.

Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano - Grade 0.5

SKU: CF.PAS22

Composed by Larry Clark. Primer String Orchestra. Set of Score and Parts. With Standard notation. 8+2+5+5+5+3+8+8 pages. Duration 2 minutes, 53 seconds. Carl Fischer Music #PAS22. Published by Carl Fischer Music (CF.PAS22).

ISBN 9781491151204. UPC: 680160908707. 9 x 12 inches. Key: D major.

Written for beginning string students, Larry Clark's Contemplation?contains basic compositional techniques that students will be able to identify and learn from. It begins with a rich, melodic opening which highlights students' musicianship. This is then contrasted by the frolicking, uptempo section, which is a variation on the original musical material.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of 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 Clark

Lakeland, FL 2018

.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.A To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play.A As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically.A The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns.A The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature.A As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of 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.

aLarry Clark

Lakeland, FL 2018

.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.A To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play.A As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically.A The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns.A The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature.A As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of 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.

aLarry Clark

Lakeland, FL 2018

.

Contemplation: the action to look thoughtfully at something for a long time.

When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.

This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.

After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of 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 Clark

Lakeland, FL 2018

.
Contemplation: the action to look thoughtfully at something for a long time. When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner. To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page. This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement. After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of 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 Clark Lakeland, FL 2018.
Contemplation: the action to look thoughtfully at something for a long time.When composing music that will be used with younger students, I want to stimulate in them thoughtfulness. In this particular piece I want the students to be be able to stretch their musicianship beyond their experience on their instruments to play in a contemplative manner.  To me this is the essence of music: playing in an emotional and thoughtful way. It is something that cannot be stressed enough, even in students that have just begun to play. As soon as possible they should be asked to put themselves into the music and make it more than the notes and rhythms on the page.This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically, but have to stretch for musically. The notes and rhythms are limited, but students should strive for beauty of tone, good phrasing and emotional involvement.After a short introduction, the heartfelt main theme begins at a lyrical and slow tempo. This is developed with the addition of a secondary theme featuring the lower voices, before the piece leads to an Allegro section that is based on the same musical material with a difference in tempo and a variation in rhythm patterns. The piece can serve to show students that the same basic music can have an entirely different emotional connection with difference in tempo, rhythm and style, with the first section of the piece being sentimental and the faster section being more joyous in nature. As with all of my pieces for younger students, it is completely acceptable to adjust the tempo to fit the educational needs of 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 2018.

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS21

Composed by Larry Clark. Edited by Amy Rosen. SWS - FS. Carl Fischer First Plus String Orchestra Series. Classical. Score and Parts. With Standard notation. 8+8+2+5+5+5+2+8 pages. Carl Fischer Music #FAS21. Published by Carl Fischer Music (CF.FAS21).

ISBN 9780825853067. UPC: 798408053062. 8.5 X 11 inches. Key: B minor.

Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.
Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece. As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program. -Larry Clark New York, NY 2003.
Character was composed to introduce young string players to contemporary harmonic techniques while still being within the technical limitations of the developing student. Quartal and quintal harmonies open the composition with a fanfare gesture that ties the piece together. This is followed by an ostinato in the first violins that contains a tricky figuration between G and A that will work the pinky finger on the D-string. Players who are not capable of maneuvering their pinky at this brisk tempo should play the lower part. The main theme is given to the inner voice for a change! After the main theme there is a development section that combines fragments of the fanfare material with fragments of the main theme. A grand pause and then a stronger statement of the main theme then follow this with the first violins up an octave. The piece is then completed with a short coda containing fragments of the ostinato and fanfare material. It feels natural for the tempo to speed up slightly at this point in the piece.As with all of my pieces at this level, the tempo is merely a suggestion and should be adjusted slower or faster to fit the needs of your students and the performance situation.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.-Larry ClarkNew York, NY 2003.

By Keith Urban. Play It Like It Is (Authentic note-for-note transcriptions). Softcover. With notes and tablature. 160 pages. Published by Cherry Lane Music.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234

Composed by Travis Weller. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+8+4+4+8+8+8+8+6+6+6+4+8+6+2+4+4+6+32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234. Published by Carl Fischer Music (CF.CPS234).

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234F

Composed by Travis Weller. Sws. Cps. Full score. 32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234F. Published by Carl Fischer Music (CF.CPS234F).

ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!