Orchestra String Orchestra - Grade 3

SKU: CF.CAS7

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.

By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Duboff, Jeffrey Sultanof, Alex Chilowicz, and Andrew Homzy. Arranged by Eddie Sauter. For string ensemble (score and parts) (Soloist (parts in concert, B-flat, and E-flat), Violin I (8 parts), Violin II (8 parts), Viola (5 Parts), Cello (5 Parts) , Double Bass (3 Parts), Harp, Piano/Celeste, Percussion (Snare Drum, Marimba, Tambourine)). Advanced. Score and parts. Published by Jazz Lines Publications

String Orchestra Orchestra - Grade 4.5

SKU: XC.MSO2002

Composed by Sean O'Loughlin. Maestro String Orchestra Series. Concert and Contest. Concert and contest. Set of parts. Excelcia Music Publishing #MSO2002. Published by Excelcia Music Publishing (XC.MSO2002).

UPC: 812598034653. 9 x 12 inches.

You have run out of time, this tense new work for String Orchestra is an exhilarating piece of music. Moments of lush tutti playing are pierced by brilliantly fresh sounding rhythmic interplay between all voices of the orchestra. Students and audiences will love the drive of this one, perfect for any concert performance.

Orchestra String Orchestra - Grade 1.5-2

SKU: CF.FAS11

Composed by Larry Clark. FS SWS. Carl Fischer First Plus String Orchestra Series. Classical. Score and Parts. With Standard notation. 8+8+5+5+5+2+8 pages. Carl Fischer Music #FAS11. Published by Carl Fischer Music (CF.FAS11).

ISBN 9780825845048. UPC: 798408045043. 8.5 X 11 inches. Key: G major.

This outstanding original from Larry Clark can be played any time of year! A vigorous theme moves through all the sections and violas combine with second violins for prominent solo passages. A section in minor adds to the drama as strong rhythmic chords give way to a subdued tremolo in the first violins, reminiscent of Vivaldi's Winter This music reaches a level of intensity your players and audience will love.
Out of the Winter is a musical depiction of the many moods of winter from its harsh storms to its simple beauty. The composition is based on a central main theme that is musically developed throughout the composition presented in and out of major and minor keys.The main theme begins right away without introduction and is set to depict the simple delicate beauty of a light falling snow. The theme is then developed in the minor key using simple contrapuntal techniques that give the composition a fresh sound for pieces at this grade level. The aggressive development of the piece is a musical description of a powerful winter storm. The tension of this section is built to a climax using simple divisi in the strongs and some poly-chordal harmonic techniques that give way to a final return of the main theme to complete the piece.Special care should be given to exaggerating the contrast between the two diverse sections of the piece. The main theme should be light and uplifting. The second section with the theme in minor should have an ominous presence, but still be reminiscent of the original light main theme. As with all of my compositions at this grade level, adjust the tempo to fit the ability level of your students. It is hope that this piece helps to reinforce the concepts of good musicianship which you are trying to instill in your students. Bowings should be used as a guide and should be adjusted to your needs.It has been my pleasure to have had the opportunity to write this piece. I hope that you and your students find it useful for your program.

By Lauren Bernofsky (1967-). For narration and string orchestra. FJH Beginning Strings. Full set (score and parts). Score only also available: ST6192S. Halloween. Grade 1. Score and set of parts. Composed 2009

By Lauren Bernofsky (1967-). For narrator and string orchestra. FJH Beginning Strings. Score only. Full set (score and parts) also available: ST6192. Halloween. Grade 1. Score. Composed 2009

Orchestra String Orchestra - Medium Easy/Medium

SKU: CF.CAS22

Composed by Larry Clark. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS22. Published by Carl Fischer Music (CF.CAS22).

ISBN 9780825858208. UPC: 798408058203. 8.5 X 11 inches. Key: G major.

The fast paced rondo has a Dorian flavored melody with hints of quartel (based on an interval of a fourth) harmony to give it a contemporary sound The players are presented with solo opportunities as well as harmonic turns and twists that will keep them.
Rondo in the Nick of Time was originally the third movement for a woodwind quintet piece that I wrote in 1990. I have always been fond of this little piece and felt that it would adapt well to larger ensembles. I have also scored this piece for band as part of a suite called Upon a New Horizon.The main theme is based on the Dorian Mode. The use of quartal harmony makes up most of the harmonic material. Each statement of the theme is followed by an episode that increases in length each time. There is a sudden change of style and tempo in the middle of the piece, where fragments of the theme are developed. The title is a play-on-words, since the work contains hemiola effects that alter the feel of the time.As with all of my pieces for strings, the bowings are given only as a reference. Feel free to alter them to fit the needs of your students. I have indicated a rather fast tempo for the piece. I really like the piece to fly, but it will work and sound fine at a slower tempo as well. Just endeavor to keep their energy moving forward.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students enjoy it and find it useful in your program.-Larry ClarkLakeland, FL. 2005.

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

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s 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

By Gerald E. Anderson. Edited by Robert Frost. Orchestra Method/Study. All for Strings Method. Level: Elementary. Music Book. Published by Neil A. Kjos Music Company.

Composed by Leslie Bricusse and Anthony Newley. Arranged by Douglas E. Wagner. Concert Band. Concert Band. Pop Young Band. Form: Ballade. Movie; Pop. Grade 2. Score only. 16 pages. Published by Alfred Music

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS19

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #YAS19. Published by Carl Fischer Music (CF.YAS19).

ISBN 9780825854859. UPC: 798408054854. 8.5 X 11 inches. Key: D major.

Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yetA legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerfulA divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.

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

Orchestra String Orchestra - Grade 2.5

SKU: FJ.ST6419S

Score Only. Composed by Gary Fagan. Series; String Orchestra. FJH Developing Strings. Light Concert; Novelty. Score. Duration 2:15. The FJH Music Company Inc #98-ST6419S. Published by The FJH Music Company Inc (FJ.ST6419S).

English.

Show your great sense of humor with this novelty piece that winds up creating near chaos in your ensemble! When the first violins join a local branch of the String Players Union, the other musicians and director soon learn that the union members must adhere to some hilarious performance guidelines. Accommodations include playing only some notes, giving the left hand a rest and even left hand free time! Staging possibilities are endless - this piece is easy to put together and is guaranteed to bring a smile to everyone in the hall!

About FJH Developing Strings

Sl ightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5

Orchestra String Orchestra - Grade 2.5

SKU: FJ.ST6419

Composed by Gary Fagan. Series; String Orchestra. FJH Developing Strings. Light Concert; Novelty. Score and Part(s). Duration 2:15. The FJH Music Company Inc #98-ST6419. Published by The FJH Music Company Inc (FJ.ST6419).

UPC: 241444375532. English.

Show your great sense of humor with this novelty piece that winds up creating near chaos in your ensemble! When the first violins join a local branch of the String Players Union, the other musicians and director soon learn that the union members must adhere to some hilarious performance guidelines. Accommodations include playing only some notes, giving the left hand a rest and even left hand free time! Staging possibilities are endless - this piece is easy to put together and is guaranteed to bring a smile to everyone in the hall!

About FJH Developing Strings

Sl ightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5

Composed by Richard Meyer. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. Novelty. 126 pages. Published by Highland/Etling (AP.44849).

By Soon Hee Newbold. For orchestra. FJH Developing Strings. Full set (score and parts). Score only also available: ST6199S. Halloween. Grade 2.5. Score and set of parts. Composed 2009. Published by The FJH Music Company Inc

By Felix Bartholdy Mendelssohn (1809-1847). Arranged by Tim McCarrick. Orchestra. For String Orchestra. String Orchestra. Belwin Intermediate String Orchestra. Masterwork Arrangement; Romantic. 3.5 (grade 3.5). Score. 8 pages. Published by Alfred Music Publishing

By Felix Bartholdy Mendelssohn (1809-1847). Arranged by Tim McCarrick. Orchestra. Masterworks; SmartMusic; String Orchestra. Belwin Intermediate String Orchestra. Masterwork Arrangement; Romantic. Grade 3.5. Conductor Score and Parts. 72 pages. Published by Belwin Publishing

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5F

Composed by Joseph Compello. Carl Fischer Beginning String Orchestra Series. Full score. With Standard notation. 12 pages. Carl Fischer Music #BAS5F. Published by Carl Fischer Music (CF.BAS5F).

ISBN 9780825845093. UPC: 798408045098. 8.5 X 11 inches.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s 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

Composed by Loreta Fin. Orchestra. Part(s); Score; String Orchestra. Wilfin String Orchestra: Young String Ensemble Series. Grade 1. 128 pages. Published by Alfred Music

By Bobby Pickett and Leonard Capizzi. Arranged by Bob Phillips. Orchestra. Part(s); Score; String Orchestra. Sound Innovations for Strings. Fall; Halloween; Pop. Grade 2.5. 152 pages. Published by Alfred Music

Orchestra string orchestra - Grade 1

SKU: KJ.SO206F

Composed by Robert Frost. Artistry in Strings. Score. Neil A. Kjos Music Company #SO206F. Published by Neil A. Kjos Music Company (KJ.SO206F).

This Frost original features 3/4 time and focuses on f-sharps and f-naturals. A perfect piece to reinforce the necessary finger patterns while preparing for performance.

About Artistry in Strings

Ar tistry in Strings is a groundbreaking string method that will be at home in your classroom or private studio. Its comprehensive approach contains all the basic tools necessary to establish solid technique and expressive music making. Artistry in Strings is a music educator's dream, combining a performance-centered approach with optional theory, composing, listening, assessment, and interdisciplinary and multi-cultural studies.

Authors Robert S. Frost, Gerald Fischbach, and Wendy Barden have combined their vast experience as educators to provide a string method that is well paced for all types of beginning string classes. Regardless of class frequency and duration, or class size and student age, Artistry in Strings will assist you to achieve superior results.

By Les Taylor. Arranged by Les Taylor. Beginning Orchestra. Real Music for Beginning Strings. Full set (score and parts). Score only also available: S. String Orchestra. Score and Set of Parts. Composed 2002. Published by The FJH Music Company Inc.
Level: Grade 1.5.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS41

Composed by Larry Clark. Carl Fischer Young String Orchestra Series. Score and Parts. With Standard notation. 16+10+16+4+10+10+4+12 pages. Carl Fischer Music #YAS41. Published by Carl Fischer Music (CF.YAS41).

ISBN 9780825861291. UPC: 798408061296. 8.5 X 11 inches. Key: G major.

Larry Clark does it again with this tuneful new feel good piece. You and your students will walk away humming this tune. There is even a nice contrasting lyrical middle section in the relative minor to break up the piece.
Solstice: one of two times in the year when the sun is at its greatest distancefrom the celestial equator.A solstice happens at the mid-point of summer, about June 21, and the midpoint of winter, about December 22. Each of those times of year is delightful. The carefree days of summer have just begun around June 21, when the mind wanders to long bike rides or walks on the beach. During the winter solstice the mind is filled with all of the delights that the holiday season has to offer. Either way, a solstice is a joyous and fun filled time of year, and this piece is intended to bring to mind some of these wonderful times. The main theme should be performed in a light carefree manner, which is then contrasted by the more lyrical and passionate middle section.As with all of my pieces for younger students, the tempo indicated is merely a guide. Adjust the tempo to fit the needs of your students. It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.

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

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS19F

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS19F. Published by Carl Fischer Music (CF.YAS19F).

ISBN 9780825854866. UPC: 798408054861. 8.5 X 11 inches. Key: D major.

Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patterns in the violas and low strings. An AABA form begins at m. 5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the 13 section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.

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

By James McLeod. Orchestra Method/Study. Night At the Symphony. Level: Grade 4. Music Book. Published by Neil A. Kjos Music Company.