SKU: CF.YAS31

ISBN 9780825858420. UPC: 798408058425. 8.5 X 11 inches. Key: D major.

A great piece for developing players to learn the sensibilities of the classical period, Doris Gazda has taken 3 beautiful waltzes from Sechs Deutsche Tanze fur Orchester, Kv. 509, originally written by Mozart as an orchestral work, and combined and arranged them for easy string orchestra. The arrangement is extremely playable and is a wonderful way to encourage legato playing as well as good rhythmic execution.

SKU: FJ.ST6541

English.

Written by Mozart during his first concert tour of Italy at age 14-15, this well-known work was written in the style of the Italian overture of the time. This noteworthy arrangement is extremely accessible to developing orchestras while remaining true to the sound of the original. Well suited for both large and chamber orchestras, this arrangement is ideal for the middle of your program. (3:45).

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

SKU: FJ.ST6541S

English.

Written by Mozart during his first concert tour of Italy at age 14-15, this well-known work was written in the style of the Italian overture of the time. This noteworthy arrangement is extremely accessible to developing orchestras while remaining true to the sound of the original. Well suited for both large and chamber orchestras, this arrangement is ideal for the middle of your program.

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

SKU: CF.CAS10

ISBN 9780825847615. UPC: 798408047610. 8.5 X 11 inches. Key: G major.

With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.
With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unisonA forte, which suddenly drops toA piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.
With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.
With this arrangement, my goal is to maintain the integrity of the original work, while making it accessible to the younger orchestra. An important aspect of the successful performance of this piece is maintaining an energetic tempo. The repeated eighth notes in the accompaniment should be played cleanly and crisply to maintain momentum. There are many places where abrupt changes in dynamics occur. For example, m. 1 begins with a string unison forte, which suddenly drops to piano at m. 11. Accents, staccatos, and other articulations should be carefully observed. To be effective, crescendos should begin at a reasonable volume, so they have somewhere to go dynamically. I hope you and the orchestra enjoy this arrangement.

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