Composed by Tyler Arcari. Score and part(s). Duration 2 minutes, 37 seconds. Carl Fischer #BPS87. Published by Carl Fischer (CF.BPS87).

Orchestra String Sextet, Piano - Grade 1

SKU: CF.BAS69F

Composed by Tyler Arcari. Carl Fischer Beginning String Orchestra Series. Full score. With Standard notation. 8 pages. Duration 2 minutes, 22 seconds. Carl Fischer Music #BAS69F. Published by Carl Fischer Music (CF.BAS69F).

ISBN 9781491141878. UPC: 680160629930.

The Terracotta army that guards the tomb of China's first emperor Qin Shi Huang is nearly 8,000 warriors strong. This new piece for beginning ensembles depicts these magnificent stone soldiers. Composer Tyler Arcari draws on his background in music education to bring us a stunning new piece that young string students will love to play. It will sound rich and full, even with younger players.

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

Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone and more. - Grade 1

SKU: CF.BPS87F

Composed by Tyler Arcari. SWS. Full score. 12 pages. Duration 2 minutes, 37 seconds. Carl Fischer Music #BPS87F. Published by Carl Fischer Music (CF.BPS87F).

ISBN 9781491140659. UPC: 680160628711. 9 x 12 inches.

The Terracotta army that guards the tomb of China's first emperor Qin Shi Huang is nearly 8,000 warriors strong. This new piece for beginning ensembles is set to depict these magnificent stone soldiers. New composer Tyler Arcari draws on his background in music education to bring us a stunning new piece that young band students will love to play. It will sound rich and full, even with less experienced players. In addition to the wonderful music in this piece, there are great opportunities for cross-curricular learning with this contest worthy piece.

Full Score. Arranged by James Curnow. This edition: CMP123408. Curnow Concert Band Full Set. Softcover. 76 pages. Published by Curnow Music.

Part 1 in Eb (Alto Saxophone, Eb Trumpet/Cornet, Eb Clarinet). Arranged by James Curnow. This edition: CMP123908. Curnow Concert Band Full Set. 16 pages. Published by Curnow Music.

Fiddle, Violin - Difficulty: medium

SKU: HL.235

By Various. Fiddle. Folk. Solo fiddle songbook. With performance notes, introductory text and standard notation. 96 pages. Published by Centerstream Publications (HL.235).

ISBN 9781574240566. UPC: 073999567786. 9x12 inches.

This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.

For Bass. Performed by Todd Phillips. Homespun Tapes (Instructional). Softcover with CD. Size 9x12 inches. 34 pages. Published by Homespun.

For Mandolin. Performed by Matt Flinner. Homespun Tapes (Instructional). Softcover with CD. Size 9x12 inches. 67 pages. Published by Homespun.

For Fiddle. By Darol Anger. Homespun Tapes (Instructional). Softcover with CD. 44 pages. Published by Homespun.

(with Guitar Chords). Edited by John Canning. For Melody/Lyrics/Chords. Waltons Irish Music Books. Softcover with CD. 48 pages. Hal Leonard #WM1386CD. Published by Hal Leonard

With Guitar Chords. Edited by John Canning. Waltons Irish Music Books. Celtic, Scottish. Softcover. 50 pages. Waltons Irish Music #WM1386. Published by Waltons Irish Music (HL.634229).

Orchestra - Grade 2.5

SKU: AP.45883S

By Peter Ilyich Tchaikovsky. By Peter Ilyich Tchaikovsky. Arranged by Scott Watson. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Masterwork Arrangement; Novelty; Romantic; Secular; Winter. Score. 20 pages. Duration 2:20. Highland/Etling #00-45883S. Published by Highland/Etling (AP.45883S).

UPC: 038081423903. English.

Have the cookies left out on Christmas Eve mysteriously vanished? Does it seem like the nutcracker and toy soldier figurines have moved by themselves overnight? Are you experiencing strange visions of holiday confections dancing in your head? There's only one operative with the right skill set for holiday capers like these: Secret Agent Sugar Plum of the Holiday Sweets Division of WinterPol!

This clever arrangement by Scott Watson fuses themes from Tchaikovsky's Dance of the Sugar Plum Fairy (from The Nutcracker) with classic spy music idioms, all set to a driving rock beat. Sure to be a player and audience favorite in your holiday concert! (2:20).

(The Complete Mandolin Method). For mandolin. Other Instrument - Mandolin. Learn To Play, General Theory and Technique. Instructional book and instructional video: DVD. Standard mandolin notation, mandolin tablature, chord names, mandolin chord diagrams, instructional text and instructional photos. 95 pages. Published by Alfred Music Publishing

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.