Cal's Jig Orchestre à Cordes [Conducteur et Parties séparées] Carl Fischer
Composed by Bill Calhoun. Score and part(s). With Standard notation. 70 8 page...(+)
Composed by Bill Calhoun.
Score and part(s). With
Standard notation. 70 8
pages. Duration 2
minutes, 11 seconds. Carl
Fischer #BAS0068.
Published by Carl Fischer
(CF.BAS68).
Escalation Orchestre à Cordes SATB A Cappella - Facile Excelcia Music Publishing
String Orchestra Orchestra - Grade 2 SKU: XC.ISO1904FS Composed by Sean O...(+)
String Orchestra
Orchestra - Grade 2
SKU: XC.ISO1904FS
Composed by Sean
O'Loughlin. Intermezzo
Orchestra Series.
Classical, Acoustic.
Score. Excelcia Music
Publishing #ISO1904FS.
Published by Excelcia
Music Publishing
(XC.ISO1904FS).
UPC:
812598030983. 9 x 12
inches.
Escalation
is an exciting new work
for the developing string
orchestra. The title
suggests music that lifts
and rises throughout. I
endeavored to embody this
concept but not be
limited by it. The music
does rise at times, but
it also needs to pull
back to make a complete
musical statement. By its
cinematic nature, the
piece offers some
wonderful teaching
opportunities for both
rhythmic and lyrical
playing.
Escalation Orchestre à Cordes SATB A Cappella - Facile Excelcia Music Publishing
String Orchestra Orchestra - Grade 2 SKU: XC.ISO1904 Composed by Sean O'L...(+)
String Orchestra
Orchestra - Grade 2
SKU: XC.ISO1904
Composed by Sean
O'Loughlin. Intermezzo
Orchestra Series.
Classical, Acoustic. Set
of parts. Excelcia Music
Publishing #ISO1904.
Published by Excelcia
Music Publishing
(XC.ISO1904).
UPC:
812598030518. 9 x 12
inches.
Escalation
is an exciting new work
for the developing string
orchestra. The title
suggests music that lifts
and rises throughout. I
endeavored to embody this
concept but not be
limited by it. The music
does rise at times, but
it also needs to pull
back to make a complete
musical statement. By its
cinematic nature, the
piece offers some
wonderful teaching
opportunities for both
rhythmic and lyrical
playing.
Orchestral Repertoire Excerpts, Scales, and Studies for String Orchestra and Ind...(+)
Orchestral Repertoire
Excerpts, Scales, and
Studies for String
Orchestra and Individual
Study. By Susan C. Brown.
For Viola. String
Orchestra
Method/Supplement. Book.
52 pages. Published by
Alfred Publishing.
Orchestral Repertoire Excerpts, Scales, and Studies for String Orchestra and Ind...(+)
Orchestral Repertoire
Excerpts, Scales, and
Studies for String
Orchestra and Individual
Study. By Susan C. Brown.
For Violin 2. String
Orchestra
Method/Supplement. Book.
52 pages. Published by
Alfred Publishing.
Orchestral Repertoire Excerpts, Scales, and Studies for String Orchestra and Ind...(+)
Orchestral Repertoire
Excerpts, Scales, and
Studies for String
Orchestra and Individual
Study. By Susan C. Brown.
For Conductor's Score.
String Orchestra
Method/Supplement. Book.
116 pages. Published by
Alfred Publishing.
Orchestral Repertoire Excerpts, Scales, and Studies for String Orchestra and Ind...(+)
Orchestral Repertoire
Excerpts, Scales, and
Studies for String
Orchestra and Individual
Study. By Susan C. Brown.
For Violin 1. String
Orchestra
Method/Supplement. Book.
52 pages. Published by
Alfred Publishing.
Scalin' Back Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS50 Composed by Matt T...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS50
Composed by Matt Turner.
Carl Fischer Young String
Orchestra Series.
Scalin’ Back is a
pop-rock string orchestra
piece. A section that
allows for solos has been
provided at m. 33.
Students are encouraged
to improvise a solo using
the pitches in the
C-major scale. Classical.
Score and Parts. With
Standard notation. 8
pages. Carl Fischer Music
#YAS50. Published by Carl
Fischer Music (CF.YAS50).
ISBN 9780825863561.
UPC: 798408063566. 8.5 X
11 inches. Key: C
major.
Another fine
rock-styled selection by
the gifted Matt Turner
that offers young players
the chance to perform
improvised solos with the
ensemble. The basic
framework of the piece is
a lively and inventive
use of simple rock
progressions and standard
rock rhythms.
About Carl
Fischer Young String
Orchestra
Series
Thi
s 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
Score Only.
Composed by Soon Hee
Newbold. Series; String
Orchestra. FJH Developing
Strings. Light Concert;
Multicultural; Novelty.
Score. Duration 2:00. The
FJH Music Company Inc
#98-ST6289S. Published by
The FJH Music Company Inc
(FJ.ST6289S).
English.
Feel
the warm breezes of the
islands in this lively
original work.
Emphasizing high 3
fingerings in the violins
and violas, Calypso Sea
contains traditional
syncopated rhythms and
pizzicato figures.
Optional claves and guiro
complete the groove and
add a tropical flair.
Silent Night.
Composed by Franz Xaver
Gruber. Arranged by Katie
O'Hara LaBrie. Series;
String Orchestra. FJH
Developing Strings.
Holiday Pops. Score. The
FJH Music Company Inc
#98-ST6504S. Published by
The FJH Music Company Inc
(FJ.ST6504S).
English.
Lush
and rich harmonies
surround this inventive
arrangement of Silent
Night that offers a
wonderful opportunity to
focus on phrasing and
balance. Each section is
featured through
interwoven melodies and
changing time signatures
in the contrasting calm
and bright sections. A
mature sounding work for
intermediate players, and
a sure way to enhance the
quality of your winter
program.
Silent Night.
Composed by Franz Xaver
Gruber. Arranged by Katie
O'Hara LaBrie. Series;
String Orchestra. FJH
Developing Strings.
Christmas; Holiday Pops.
Score and Part(s). The
FJH Music Company Inc
#98-ST6504. Published by
The FJH Music Company Inc
(FJ.ST6504).
UPC:
241444416358.
English.
Lush and
rich harmonies surround
this inventive
arrangement of Silent
Night that offers a
wonderful opportunity to
focus on phrasing and
balance. Each section is
featured through
interwoven melodies and
changing time signatures
in the contrasting calm
and bright sections. A
mature sounding work for
intermediate players, and
a sure way to enhance the
quality of your winter
program.
By Mark Williams. Music by Mark Williams. For String Orchestra. String Orchestra...(+)
By Mark Williams. Music
by Mark Williams. For
String Orchestra. String
Orchestra. Strictly
Strings Series. Level: 1
(grade 1). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
Calloway County Orchestre à Cordes - Intermédiaire/avancé Kjos Music Company
Orchestra string orchestra - Grade 4 SKU: KJ.SO281F Composed by Robert Si...(+)
Orchestra string
orchestra - Grade 4
SKU: KJ.SO281F
Composed by Robert
Sieving. String Tracks.
Score. Neil A. Kjos Music
Company #SO281F.
Published by Neil A. Kjos
Music Company
(KJ.SO281F).
Filled with
rustic charm, Calloway
County is a musical
meditation on old time
rural America. From
syncopated dance rhythms
to austere folk-inspired
melodies, this evocative
selection has something
for everyone. Full
Score.
Composed by Leroy Anderson (1908-1975). Arranged by Bob Phillips. Orchestra. Sco...(+)
Composed by Leroy
Anderson (1908-1975).
Arranged by Bob Phillips.
Orchestra. Score; String
Orchestra. Pop Concert
String Orchestra. Form:
Waltz. Light Concert.
Grade 3. 12 pages.
Published by Alfred Music
Composed by Gene Milford. For string orchestra (violin I, violin II, violin ...(+)
Composed by Gene Milford.
For
string orchestra (violin
I,
violin II, violin III
(viola
T.C.), viola, cello,
bass,
piano). Score and parts.
Duration 2 minutes, 32
seconds. Published by
Carl
Fischer
Bass-ically Christmas Orchestre à Cordes [Conducteur et Parties séparées] Alfred Publishing
Featuring: Jolly Old St. Nicholas / Jingle Bells. Composed by James Lord ...(+)
Featuring: Jolly Old
St. Nicholas / Jingle
Bells. Composed by
James Lord Pierpont.
Arranged by Bob Phillips.
Part(s); Score; String
Orchestra. Sound
Innovations for String
Orchestra. Form: Medley.
Christmas; Winter. 156
pages. Published by
Alfred Music (AP.45862).
Composed by Bill Calhoun. For string orchestra (violin I, violin II, violin ...(+)
Composed by Bill Calhoun.
For
string orchestra (violin
I,
violin II, violin III
(viola
T.C.), viola, cello,
bass,
piano). Score and parts.
Duration 2 minutes, 11
seconds. Published by
Carl
Fischer
From the Broadway musical "Hamilton". Composed by Lin- Manuel Miran...(+)
From the Broadway musical
"Hamilton".
Composed by Lin-
Manuel Miranda (1980-).
Arranged by Larry Moore.
Pop
Specials for Strings.
Broadway; Musical.
Softcover. Published by
Hal
Leonard
Composed by Doris Gazda.
Edited by Amy Rosen.
FS-SWs. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
20+24+24+6+15+15+15
pages. Carl Fischer Music
#CAS7. Published by Carl
Fischer Music (CF.CAS7).
ISBN 9780825847578.
UPC: 798408047573. 8.5 X
11 inches. Key: D
major.
When you
have the good fortune to
visit Red Rock country in
the southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody.A Red Rock
RagA is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag
is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it. When you have the
good fortune to visit Red
Rock country in the
southwestern United
States, you will all at
once feel that majesty
and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista. The
Red Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red color.
Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock Rag is
challenging stylistically
and rhythmically. It
would be appropriate to
study both the ragtime
and swing styles while
working on it. When
you have the good fortune
to visit Red Rock country
in the southwestern
United States, you will
all at once feel that
majesty and beauty in the
towering red landscape.
You can trek, bike,
paddle, ride horseback or
drive through the
canyons, past the
strangely shaped rocks
and over the enormous
boulders. Each time you
turn a corner you will be
dazzled by yet another
magnificent vista.The Red
Rock areas in Utah,
Nevada, Arizona and New
Mexico formed millions of
years ago when that part
of North America was
primarily under water.
The water left behind the
shells and skeletons of
sea creatures that
gradually turned into
limestone and similar
rocks. Beginning 225
million years ago, the
earth's crust began to
move and the seabed
slowly rose. Streams
entering the shallow
water deposited mud and
sand that turned into
shale and marine
sandstone. As the land
continued to rise and dry
out, some of the rocks
oxidized (combined with
oxygen) and turned red in
color. Subsequently the
area was covered with
sands that eventually
compressed into what is
called Aztec sandstone.
Sometimes, when iron was
concentrated in the rock,
the sandstone turned a
bright red
color.Following the
introduction, the music
in Red Rock Rag takes on
a typical ragtime melody
and rhythm. It then
transitions by changing
key, time signature and
the structure into a
swing waltz. At m. 60, it
moves into a combined
time signature of one
measure of 3/4 time and
two measures of 2/4 time
with an occasional lick
in the bass line.
Finally, it moves back
into the swing-waltz
style and finishes with
the original ragtime
melody. Red Rock
Rag is challenging
stylistically and
rhythmically. It would be
appropriate to study both
the ragtime and swing
styles while working on
it.
Orchestra String Orchestra - Grade 3 SKU: CF.CAS18 Composed by Douglas To...(+)
Orchestra String
Orchestra - Grade 3
SKU: CF.CAS18
Composed by Douglas
Townsend. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
12 pages. Carl Fischer
Music #CAS18. Published
by Carl Fischer Music
(CF.CAS18).
ISBN
9780825855016. UPC:
798408055011. 8.5 X 11
inches. Key: F
major.
A truly
masterful fantasy on an
English folk song, this
piece shows the
exceptional musical
development found in many
of the greatest classical
symphonies. The fantasy
is roughly in the style
of the classical rondo
(ABACA) and features fine
counterpoint and engaging
melodies. This piece can
be played in an
orchestral and quartet
setting and is both
challenging and fun to
play. My Fantasy
on The Wee Cooper of Fife
was one of four such
fantasies I wrote for my
daughter April when she
was studying the violin,
and I had hopes that when
she reached the age of
wisdom and proficiency
she would play them with
her friends. Life being
what is it, she
eventually gave up the
violin and chose a
completely different
career for herself-though
we are still the best of
friends! I found the song
in a collection of folk
songs for children where
it is called Rissoldy
Rossoldy. Except for
a few notes, the song was
almost identical to the
English folksong The
Wee Cooper of Fife,
which begins: There was a
Wee Cooper named Fife /
nickity nackety roo noo
roo / He took him to wed
a gentle wife / nickity
nackety roo noo roo / She
would na card she would
na spin / for fear 't
would harm her gentle
skin.... The tune is
rollicking and words are
amusing, and yes,
eventually they worked
out their problems!
The Fantasy is
roughly in the style of
the classical rondo,
which is ABACA coda, such
as one finds in the last
movements of some of
Haydn's later symphonies.
This composition may be
performed by a string
orchestra or solo string
quartet. - Douglas
Townsend. MyA
Fantasy on The Wee
Cooper of FifeA was
one of four such
fantasies I wrote for my
daughter April when she
was studying the violin,
and I had hopes that when
she reached the age of
wisdom and proficiency
she would play them with
her friends. Life being
what is it, she
eventually gave up the
violin and chose a
completely different
career for herself-though
we are still the best of
friends! I found the song
in a collection of folk
songs for children where
it is calledA
Rissoldy Rossoldy.A
Except for a few
notes, the song was
almost identical to the
English folksongA The
Wee Cooper of Fife,
which begins: There was a
Wee Cooper named Fife /
nickity nackety roo noo
roo / He took him to wed
a gentle wife / nickity
nackety roo noo roo / She
would na card she would
na spin / for fear 't
would harm her gentle
skin.... The tune is
rollicking and words are
amusing, and yes,
eventually they worked
out their problems!
The Fantasy is
roughly in the style of
the classical rondo,
which is ABACA coda, such
as one finds in the last
movements of some of
Haydn's later symphonies.
This composition may be
performed by a string
orchestra or solo string
quartet. - Douglas
Townsend. MyA
Fantasy on The Wee
Cooper of FifeA was
one of four such
fantasies I wrote for my
daughter April when she
was studying the violin,
and I had hopes that when
she reached the age of
wisdom and proficiency
she would play them with
her friends. Life being
what is it, she
eventually gave up the
violin and chose a
completely different
career for herself-though
we are still the best of
friends! I found the song
in a collection of folk
songs for children where
it is calledA
Rissoldy Rossoldy.A
Except for a few
notes, the song was
almost identical to the
English folksongA The
Wee Cooper of Fife,
which begins: There was a
Wee Cooper named Fife /
nickity nackety roo noo
roo / He took him to wed
a gentle wife / nickity
nackety roo noo roo / She
would na card she would
na spin / for fear 't
would harm her gentle
skin.... The tune is
rollicking and words are
amusing, and yes,
eventually they worked
out their problems!
The Fantasy is
roughly in the style of
the classical rondo,
which is ABACA coda, such
as one finds in the last
movements of some of
Haydn's later symphonies.
This composition may be
performed by a string
orchestra or solo string
quartet. - Douglas
Townsend. My
Fantasy on The Wee
Cooper of Fife was
one of four such
fantasies I wrote for my
daughter April when she
was studying the violin,
and I had hopes that when
she reached the age of
wisdom and proficiency
she would play them with
her friends. Life being
what is it, she
eventually gave up the
violin and chose a
completely different
career for herself-though
we are still the best of
friends! I found the song
in a collection of folk
songs for children where
it is called Rissoldy
Rossoldy. Except for
a few notes, the song was
almost identical to the
English folksong The
Wee Cooper of Fife,
which begins: There was a
Wee Cooper named Fife /
nickity nackety roo noo
roo / He took him to wed
a gentle wife / nickity
nackety roo noo roo / She
would na card she would
na spin / for fear 't
would harm her gentle
skin.... The tune is
rollicking and words are
amusing, and yes,
eventually they worked
out their problems!
The Fantasy is
roughly in the style of
the classical rondo,
which is ABACA coda, such
as one finds in the last
movements of some of
Haydn's later symphonies.
This composition may be
performed by a string
orchestra or solo string
quartet. - Douglas
Townsend. My Fantasy
on The Wee Cooper of Fife
was one of four such
fantasies I wrote for my
daughter April when she
was studying the violin,
and I had hopes that when
she reached the age of
wisdom and proficiency
she would play them with
her friends. Life being
what is it, she
eventually gave up the
violin and chose a
completely different
career for herself-though
we are still the best of
friends! I found the song
in a collection of folk
songs for children where
it is called Rissoldy
Rossoldy. Except for a
few notes, the song was
almost identical to the
English folksong The Wee
Cooper of Fife, which
begins: There was a Wee
Cooper named Fife /
nickity nackety roo noo
roo / He took him to wed
a gentle wife / nickity
nackety roo noo roo / She
would na card she would
na spin / for fear 't
would harm her gentle
skin.... The tune is
rollicking and words are
amusing, and yes,
eventually they worked
out their problems! The
Fantasy is roughly in the
style of the classical
rondo, which is ABACA
coda, such as one finds
in the last movements of
some of Haydn's later
symphonies. This
composition may be
performed by a string
orchestra or solo string
quartet. - Douglas
Townsend. My Fantas
y on The Wee Cooper of
Fife was one of four
such fantasies I wrote
for my daughter April
when she was studying the
violin, and I had hopes
that when she reached the
age of wisdom and
proficiency she would
play them with her
friends. Life being what
is it, she eventually
gave up the violin and
chose a completely
different career for
herself-though we are
still the best of
friends!I found the song
in a collection of folk
songs for children where
it is called Rissoldy
Rossoldy. Except for a
few notes, the song was
almost identical to the
English folksong The
Wee Cooper of Fife, which
begins:There was a Wee
Cooper named Fife /
nickity nackety roo noo
roo / He took him to wed
a gentle wife / nickity
nackety roo noo roo / She
would na card she would
na spin / for fear 't
would harm her gentle
skin....The tune is
rollicking and words are
amusing, and yes,
eventually they worked
out their problems!The
Fantasy is roughly in the
style of the classical
rondo, which is ABACA
coda, such as one finds
in the last movements of
some of Haydn's later
symphonies.This
composition may be
performed by a string
orchestra or solo string
quartet.- Douglas
Townsend.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s 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
Score Only.
Composed by Victor Ewald.
Arranged by Bob Lipton.
Series; String Orchestra.
FJH String Orchestra.
Quintet, Opus 5, from
which the Allegro
Moderato is the third and
final movement, reflects
Russian romanticism at
its finest. Originally
written for brass, it has
become a favorite of
brass musicians the world
over. Music written for
brass is technicall.
Masterwork Arrangement.
Score. Duration 4:15. The
FJH Music Company Inc
#98-ST6172S. Published by
The FJH Music Company Inc
(FJ.ST6172S).
English.
Origina
lly written for brass,
this exceptional work by
Victor Ewald translates
beautifully for strings.
What is more, this gives
your students a great
opportunity to play an
extended and fully
realized piece of Russian
Romantic music without
anything being watered
down. An excellent
addition to the
repertoire!
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up