Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
(from Missa brevis). Composed by David Perry, Jean Perry. For SATB choir, Keyboa...(+)
(from Missa brevis).
Composed by David Perry,
Jean Perry. For SATB
choir, Keyboard, Optional
Strings and Harp. Octavo.
Duration 2 minutes, 43
seconds. Published by
Carl Fischer
Credo Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Clavier [Octavo] Carl Fischer
(from Missa brevis). By David Perry, Jean Perry. For SATB choir, SATB Solo Quart...(+)
(from Missa brevis). By
David Perry, Jean Perry.
For SATB choir, SATB Solo
Quartet, Keyboard,
Optional Strings and
Harp. Octavo. 24 pages.
Duration 5 minutes, 7
seconds. Published by
Carl Fischer
By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). Arrang...(+)
By Carl Maria von Weber
(1786-1826) and Carl
Maria von Weber
(1786-1826). Arranged by
Roger Niese. For Bassoon
and Concert Band. Grade
4. Full score and set of
parts. Duration 20:00.
Published by Baton Music
. Full score and set of
parts.
Composed by George Sweet.
FS - SWS. Young String
Orchestra. Set of Score
and Parts. With Standard
notation.
16+16+10+10+4+10+4+12
pages. Carl Fischer Music
#YAS75. Published by Carl
Fischer Music (CF.YAS75).
ISBN 9780825869600.
UPC: 798408069605. 8.5 X
11 inches. Key: D
major.
Bassist and
string educator/composer
George Sweet is a new
addition to the Carl
Fischer Music team. His
music is fresh and
unique, and Duncan's Tale
is an enjoyable work with
infectious rhythms and
interesting melodies. It
contains some nice
harmonic twists that will
really engage your
students in the piece. We
are proud to have the
music of Mr. Sweet in the
Carl Fischer Music
catalog!. Duncanâ€
s Tale is the story of
a small Cairn Terrier who
gets into various forms
of “household
mischief†while his
owners are away. The
piece offers the viola
section a chance to play
much of the primary
melodic material, as
opposed to purely
accompaniment. Make sure
that the accents in the
main theme at m. 3 are
played with full value.
This provides a contrast
to the staccato notes
that accompany them. The
melodic section that
follows at m. 13 should
be played in a warm
legato style, contrary to
the other sections. This
is the point where the
violas enter for the
first time with the
melodic material. At m.
21 a denser variation of
the theme leads to an
abrupt “half
step†modulation.
The viola interjections
should be played with a
“fiddle-likeâ€
quality. The piece then
returns to the original
material before fading
out on the ostinato
pattern that opens the
piece. The final
pianissimo pizzicato note
represents the point when
the
“adventuresâ€
are over, as the owners
have returned and Duncan
hides.
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
Karol's Waltz.
Composed by Joseph
Compello. Carl Fischer
Young String Orchestra
Series. Classical. Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YAS43F.
Published by Carl Fischer
Music (CF.YAS43F).
ISBN 9780825863431.
UPC: 798408063436. 8.5 X
11 inches. Key: D
major.
Joe
Compello’s
expertise as a writer for
young players has never
been better demonstrated
than it is in this
charming waltz. Beautiful
melodic writing and
memorable, singing
counter-melodies fill
this tribute to the
famous river that flows
past our nation’s
capital, Washington,
DC.
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
For Pedal Harp with Accompaniment of String Orchestra. Composed by Claude...(+)
For Pedal Harp with
Accompaniment of String
Orchestra. Composed
by Claude Debussy
(1862-1918). Edited by
Carl Swanson. Solo part.
24 pages. Carl Fischer
#H000076. Published by
Carl Fischer (CF.H76).
On
Themes from Canon in
D. Composed by Johann
Pachelbel. Arranged by
Katie O'Hara LaBrie. Cas.
Set of Score and Parts.
Duration 3 minutes, 25
seconds. Carl Fischer
Music #CAS165. Published
by Carl Fischer Music
(CF.CAS165).
ISBN
9781491164990. UPC:
680160923908. Key: D
major.
Pachelbelâ
™s Canon in D has
become a staple in
western music, especially
when it comes to
weddings. It’s a
wonderful piece of music
with exciting melodies
that grow throughout the
work. However, there is
one major problem with
this piece from the
perspective of cello and
bass players. Their part
only contains a pattern
of eight notes that are
repeated over and over
and over: twenty-eight
times to be exact. To
remedy this, composer
Katie O’Hara
LaBrie has created
Pachelbel’s
Rhapsody, a dream-like
variation on
Pachelbel’s
original themes which
allows for all parts of
the orchestra to
shine.
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
Composed
by Johann Pachelbel.
Arranged by Katie O'Hara
LaBrie. Cas. Full score.
Duration 3 minutes, 25
seconds. Carl Fischer
Music #CAS165F. Published
by Carl Fischer Music
(CF.CAS165F).
ISBN
9781491165393. UPC:
680160924301. Key: D
major.
Pachelbelâ
™s Canon in D has
become a staple in
western music, especially
when it comes to
weddings. It’s a
wonderful piece of music
with exciting melodies
that grow throughout the
work. However, there is
one major problem with
this piece from the
perspective of cello and
bass players. Their part
only contains a pattern
of 8 notes that get
repeated over and over
and over. 28 times to be
exact. To remedy this,
composer Katie
O’Hara LaBrie has
created
Pachelbel’s
Rhapsody, a dream-like
variation on
Pachelbel’s
original themes which
allows for all parts of
the orchestra to
shine.
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
Romantic. Composed by Howard Hanson (1896-1981). World Premiere, Critical Editio...(+)
Romantic. Composed by
Howard Hanson
(1896-1981). World
Premiere, Critical
Edition May 6, 1999 The
Philadelphia Orchestra
Wolfgang Sawallisch
Conducting. Classical.
Full score (study). With
Standard notation. Opus
30. 104 pages. Duration
28 minutes. Carl Fischer
#SC00042. Published by
Carl Fischer
Choral TBB choir, piano SKU: CF.CM9589 Composed by English Carol. Arrange...(+)
Choral TBB choir, piano
SKU: CF.CM9589
Composed by English
Carol. Arranged by Jimmy
Baas. Fold. Performance
Score. 12 pages. Duration
2 minutes, 38 seconds.
Carl Fischer Music
#CM9589. Published by
Carl Fischer Music
(CF.CM9589).
ISBN
9781491154113. UPC:
680160912612. 6.875 x
10.5 inches. Key: C
major. English, Latin.
English
Carol.
The
Boars Head Carol is
a traditional English
Carol. This TBB
arrangement was written
as a processional for a
Renaissance festival to
be sung by a high school
varsity level mens
chorus. The boar's head
feast is said to have
been the special first
dish at formal feasts
around the year for many
centuries, especially at
Yuletide. The piano
accompaniment contains
brass-like interludes
throughout as an
interaction with the male
voices. Page 8 contains
transitional material
with the repeated text
laudes Domino building up
to the final verse with a
slower, broader tempo as
marked. Latin text
translation: Verse 1:
Quot estis in convivio As
you all feast so heartily
Verse 2: Let us servire
cantico. Let us serve
with a song. Verse 3: In
Reginensi atrio. In the
Queens hall. Chorus:
Caput apri defero Lo,
behold the head I bring
Reddens laudes Domino
Giving praise to God we
sing.  . The
Boaras Head Carol is
a traditional English
Carol. This TBB
arrangement was written
as a processional for a
Renaissance festival to
be sung by a high school
varsity level menas
chorus. The boar's head
feast is said to have
been the special first
dish at formal feasts
around the year for many
centuries, especially at
Yuletide. The piano
accompaniment contains
brass-like interludes
throughout as an
interaction with the male
voices. Page 8 contains
transitional material
with the repeated text
alaudes Dominoa building
up to the final verse
with a slower, broader
tempo as marked. Latin
text translation: Verse
1:A Quot estis in
convivioA A A A A As you
all feast so heartily
Verse 2:A Let us servire
cantico.A A A A A Let us
serve with a song. Verse
3:A In Reginensi atrio.A
A A A A A A A A In the
Queenas hall. Chorus:
Caput apri deferoA A A A
A A A A A A Lo, behold
the head I bring Reddens
laudes DominoA A A Giving
praise to God we sing.
 . The Boar's
Head Carol is a
traditional English
Carol. This TBB
arrangement was written
as a processional for a
Renaissance festival to
be sung by a high school
varsity level men's
chorus. The boar's head
feast is said to have
been the special first
dish at formal feasts
around the year for many
centuries, especially at
Yuletide. The piano
accompaniment contains
brass-like interludes
throughout as an
interaction with the male
voices. Page 8 contains
transitional material
with the repeated text
laudes Domino building up
to the final verse with a
slower, broader tempo as
marked. Latin text
translation: Verse 1:
Quot estis in convivio As
you all feast so heartily
Verse 2: Let us servire
cantico. Let us serve
with a song. Verse 3: In
Reginensi atrio. In the
Queen's hall. Chorus:
Caput apri defero Lo,
behold the head I bring
Reddens laudes Domino
Giving praise to God we
sing.  . The
Boar's Head Carol is a
traditional English
Carol. This TBB
arrangement was written
as a processional for a
Renaissance festival to
be sung by a high school
varsity level men's
chorus. The boar's head
feast is said to have
been the special first
dish at formal feasts
around the year for many
centuries, especially at
Yuletide. The piano
accompaniment contains
brass-like interludes
throughout as an
interaction with the male
voices. Page 8 contains
transitional material
with the repeated text
laudes Domino building up
to the final verse with a
slower, broader tempo as
marked. Latin text
translation: Verse 1:
Quot estis in convivio As
you all feast so heartily
Verse 2: Let us servire
cantico. Let us serve
with a song. Verse 3: In
Reginensi atrio. In the
Queen's hall. Chorus:
Caput apri defero Lo,
behold the head I bring
Reddens laudes Domino
Giving praise to God we
sing.  . The
Boar’s Head Carol
is a traditional English
Carol. This TBB
arrangement was written
as a processional for a
Renaissance festival to
be sung by a high school
varsity level
men’s chorus. The
boar's head feast is said
to have been the special
first dish at formal
feasts around the year
for many centuries,
especially at
Yuletide.The piano
accompaniment contains
brass-like interludes
throughout as an
interaction with the male
voices. Page 8 contains
transitional material
with the repeated text
“laudes
Domino†building up
to the final verse with a
slower, broader tempo as
marked.Latin text
translation:Verse 1:Â
Quot estis in
convivio  Â
  As you all
feast so heartilyVerse
2:Â Let us servire
cantico.  Â
  Let us serve
with a song.Verse
3:Â In Reginensi
atrio.   Â
   Â
 In the Queen’s
hall.Chorus: Caput apri
defero   Â
    Â
 Lo, behold the head I
bringReddens laudes
Domino Â
 Giving praise to God
we sing. .
Herald! Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Carl Fischer
Composed by Carl Strommen. Carl Fischer Premiere Performance Series. Score and p...(+)
Composed by Carl
Strommen. Carl Fischer
Premiere Performance
Series. Score and
part(s). With Standard
notation. Duration 1
minute, 54 seconds. Carl
Fischer #PPS45. Published
by Carl Fischer
(CF.PPS45).
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin
SKU: CF.BF131
Composed by Roland Vamos.
With Standard notation.
168 pages. Carl Fischer
Music #BF131. Published
by Carl Fischer Music
(CF.BF131).
ISBN
9781491153765. UPC:
680160911264. 9 x 12
inches.
Inspired by
Clarence Cameron
White’s book The
Violinist’s Daily
Dozen, The
Violinist’s Daily
Sixteen is a collection
of daily exercises
compiled by Roland Vamos.
Intended for student and
professional violinists,
the collection provides
the performer with a
variety of exercises for
daily warm-ups. Mr. Vamos
also focuses on
developing dexterity and
flexibility in the
fingers and joints, the
first and fourth fingers
in particular. Each of
the sixteen exercises is
notated for each of the
four strings, and Vamos
recommends that the
exercises be practiced as
warm-ups, choosing a
different string for each
day of practice.Also
included with the Daily
Sixteen is a
comprehensive set of
studies for developing
fluency with scales and
arpeggios. Mr.
Vamos’ unique
methodology is to begin
with major scales and
arpeggios, followed by
minor scales and
arpeggios, all of which
are notated in two, three
and four octaves.
Alternate fingers are
provided, as well as a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. It is
a remarkably systematic
approach to performing
scales and arpeggios on
the violin and will
surely benefit students
and professionals
alike. ForewordThis
short hand-setting set of
exercises was inspired by
a book entitled The
Violinist’s Daily
Dozen, conceived by
Clarence Cameron White, a
prominent
African-American
violinist, composer and
arranger who enjoyed the
bulk of his career in the
first half of the
twentieth century.I have
practiced this set of
exercises since I was
twelve years old. It has
served me as a superb
warm-up and hand setting
tool. Over the years, I
have found that there are
some aspects of this
warm-up routine that were
not given sufficient
attention or not
addressed at all.
Consequently, I have
expanded the Daily Dozen
to create a new work
entitled The
Violinist’s Daily
Sixteen.I have also paid
particular attention in
this work as to how these
exercises are to be
practiced. In exercises
one and two, I have
indicated some notes to
be played before the
actual written exercises.
This is to ensure that
the fourth finger will be
over the string in a
position ready to strike
even though it is not
being used. Before
playing exercises three,
four, nine, ten, eleven
and twelve, I have
indicated silent fingers
to be placed on the notes
they would be playing if
they were being used.I
have replaced Mr.
White’s grace
notes with notes of
specific value and have
slowed down the exercises
so that the first joint
(the joint nearest the
string) of each finger
can move with flexibility
and strength. At no time
should the first joint
buckle.In Mr.
White’s version,
the last exercise gave
the first finger some
very valuable backward
extensions. In this
exercise (number 14 in
this book), I caution the
student not to move the
hand along with the first
finger. The hand should
remain in position while
the first finger
independently moves back
and forth.It became
obvious to me that if the
first finger were given
the opportunity to
develop the dexterity
that Mr. White’s
twelfth exercise
emphasizes, the fourth
finger could benefit from
an exercise that gives it
a forward extension.
Consequently, I added
another exercise to
create a Baker’s
Dozen (thirteen).Several
years later, I felt that
the second and third
fingers should also have
an exercise to further
develop their
dexterity…hence
exercise fourteen was
added to create a
“Vamos
Dozen.â€Because the
first finger did not have
sufficient practice in
the development of the
first joint in the
original version, I have
added two exercises to
precede White’s
fifth exercise. After
re-working and
re-numbering these
exercises, I have come up
with a total of sixteen
exercises. It is my
suggestion that these be
practiced as a warm-up,
choosing a different
string each
day.—Roland
VamosEvanston, Illinois
2017Â PrefaceScales are
a means of teaching a
person the fingerboard on
his or her instrument.
The fingers move across
the strings and are
required to make shifts,
all in highly organized
patterns. Scales and
arpeggios are the
foundation upon which our
repertoire is built. Many
scale books have been
written; each one being
organized in its own
specific way. The Flesch
Scale System has been a
standard for many
decades. It is very
comprehensive and
systematic. From the
point of view of
establishing similar
patterns, it has one
drawback: it is organized
by starting with a major
key, followed by its
relative minor, going
through the circle of
fifths. I believe that it
is more profitable to do
only major scales with
their arpeggios first,
going up chromatically,
and then follow them in a
similar way with the
minor scales. In using
this approach, the
similarities in
fingerings between the
various scales are more
apparent. It is also
profitable to have
alternate fingerings
whenever possible. My
approach to scales and
arpeggios includes a
variety of slurred and
mixed bowings using the
three parts of the bow
whenever feasible. These
bowings are not
all-inclusive. Whenever a
particularly awkward
bowing pattern is
encountered in the
repertoire, it can be
practiced as an
additional bowing
variation in the scales
and arpeggios. Â Â I
have chosen to introduce
the three and four octave
scales by teaching two
octave scales across the
strings in one position
going up chromatically
through seven positions;
starting on the first,
second, third, and
finally fourth fingers in
major and melodic
minor.—Roland
VamosEvanston, Illinois
2017.