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

SKU: CF.YAS179F

Composed by Bud Woodruff. Young String Orchestra (YAS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS179F. Published by Carl Fischer Music (CF.YAS179F).

ISBN 9781491151815. UPC: 680160909315. 9 x 12 inches. Key: F major.

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

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

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

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

.

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

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

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

.

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

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

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

.

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

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

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

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

About Carl Fischer Young String Orchestra Series

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

(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Tuba. 48 pages. Published by Carl Fischer

(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Flute, Oboe. 48 pages. Published by Carl Fischer

By James Yorkston. Arranged by D. Shawn Berry. For SA. Choral music. Level: Medium. Published by Santa Barbara Music Publishing. (SBMP 515)

Band concert band - Grade 4.5

SKU: CF.SPS71

Composed by Carl Strommen. Set of Score and Parts. With Standard notation. 2+16+4+8+8+8+4+4+2+4+4+4+ 4+6+6+6+4+4+4+4+6+6+6+6+4 +8+3+2+12+2+4+28 pages. Duration 6 minutes, 26 seconds. Carl Fischer Music #SPS71. Published by Carl Fischer Music (CF.SPS71).

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .

Composed by Greg Gilpin. For 2-part choir. Sing!. Octavo. Published by Chorister's Guild

By Jay Althouse. For Choir. (2-Part). Choral Octavo. Choral Designs. Novelty; Secular, Christmas. Choral Octavo. 8 pages. Published by Alfred Publishing.
Level: Level 2 (grade L2).

(For 2 Flutes and Piano). By Gary Schocker. For 2 Flutes, Piano. Standard notation

Marimba Duets. Composed by Jacques Mazas and Ignaz Pleyel. Edited by trans. and ed. Anthony J. Cirone. Artist/Personality; Duet or Duo; Masterworks; Percussion - Mallet Instrument Duet; Solo Small Ensembles. Music of the Masters. Classical; Masterwork Arrangement; Romantic. Book. 48 pages. Alfred Music #00-PERC9502. Published by Alfred Music

Marimba Duets. Composed by Jacques Mazas and Ignaz Pleyel. Edited by trans. and ed. Anthony J. Cirone. Artist/Personality; Duet or Duo; Masterworks; Percussion - Mallet Instrument Duet; Solo Small Ensembles. Music of the Masters. Classical; Masterwork Arrangement; Romantic. Book. 48 pages. Alfred Music #00-PERC9501. Published by Alfred Music

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 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.

By Theron W. Kirk. (SSA/2 Part/Unison). Choral Octavos. Secular. Level: Grade 3. Choral Octavo. Published by Neil A. Kjos Music Company.

By Kevin Kaisershot. For 2 Trombones. Duet or Duo; Mixed Instruments - Flexible Instrumentation; Part(s). Eighth Note Publications. 8 pages. Published by Eighth Note Publications

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

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

With Variants, Examples and Advice for Playing and Improvising on any instrument. Edited by Pascale Boquet, Gerard Rebours. Music Books/CDs. Teaching Works. Level: Grade 0. 144 pages. Published by Editions Fuzeau Classique - France (French import).

Choral (SSA Choir)

SKU: HL.371612

Discovery Level 2. Composed by Idina Menzel and Jonas Myrin. Arranged by Audrey Snyder. Discovery Choral. Ballad, Christmas, Holiday, Pop. Octavo. 12 pages. Duration 220 seconds. Published by Hal Leonard (HL.371612).

ISBN 9781705148341. UPC: 196288000051. 6.75x10.5x0.029 inches.

This lovely ballad, originally sung at holiday time, may be sung at any time of year. It communicates a heartfelt message of kindness, inclusion, and acceptance toward reaching the goal of making the world a better place for everyone.

Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by Lara Downes. Collection. Theodore Presser Company #440-40028. Published by Theodore Presser Company

Textbook - Classroom. Expressions Music Curriculum[TM]. Curriculum Package. Published by Alfred Publishing.