By Matt Turner. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, drums, piano). Score and parts. Duration 3 minutes, 06 seconds. Published by Carl Fischer

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS56F

Composed by Wolfgang Amadeus Mozart. Arranged by Bill Calhoun. Carl Fischer Young String Orchestra Series. Full score. With Standard notation. 8 pages. Carl Fischer Music #YAS56F. Published by Carl Fischer Music (CF.YAS56F).

ISBN 9780825866883. UPC: 798408066888. 8.5 X 11 inches. Key: C major.

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 Deborah Baker Monday. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, piano). Score and parts. Duration 3 minutes, 05 seconds. Published by Carl Fischer

2nd Movement. Composed by Ludwig van Beethoven (1770- 1827). Arranged by Michael Hopkins. Masterworks; Part(s); Score; String Orchestra. Belwin Symphonic String Orchestra. Classical; Masterwork Arrangement; Romantic. 124 pages. Published by Belwin Music

By Domenico Cimarosa (1749-1801). Arranged by Doris Gazda. For Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano. Carl Fischer Concert String Orchestra Series. Grade 3 and up. Score and part(s). Published by Carl Fischer

Orchestra string orchestra - Level 1

SKU: KJ.SO339F

Composed by Shirl Jae Atwell. Arranged by Shirl Jae Atwell. Score only. Neil A. Kjos Music Company #SO339F. Published by Neil A. Kjos Music Company (KJ.SO339F).

UPC: 084027041758.

This lilting and hypnotic melody originates from the oral tradition of 19th-century American boat songs. Set in 3/4 time in the easy key of E-minor, the haunting tune will transport students to the deck of a swaying ship traversing the waves. Travel across time and oceans with this enchanting musical narrative. 1:33.

Orchestra string orchestra - Level 1

SKU: KJ.SO339C

Composed by Shirl Jae Atwell. Arranged by Shirl Jae Atwell. Score and parts. Neil A. Kjos Music Company #SO339C. Published by Neil A. Kjos Music Company (KJ.SO339C).

UPC: 084027041734.

This lilting and hypnotic melody originates from the oral tradition of 19th-century American boat songs. Set in 3/4 time in the easy key of E-minor, the haunting tune will transport students to the deck of a swaying ship traversing the waves. Travel across time and oceans with this enchanting musical narrative. 1:33.

(from Rinaldo). Composed by George Frideric Handel (1685- 1759). Arranged by Robert Frost. For standard string orchestra (88555) with 3rd violin/viola T.C. (3) and opt. piano. Concert String Orchestra Series. Grade 3. Score and set of parts. Duration 3 minutes, 40 seconds. Published by Kendor Music Inc

By Matt Turner. For Violin I, Violin II, Violin III (Viola T.C.), Cello, Bass, Piano, Percussion (Conga, Guiro). Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer

By Carl Strommen. For Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano, Tambourine. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer

Arranged by Virginia Croft. For Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer

Arranged by Susan C. Brown. Orchestra. SmartMusic; String Orchestra. String Orchestra. Grade 2. Conductor Score and Parts. 192 pages. Published by Alfred Music Score and Parts

By Larry Clark. For Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano. Carl Fischer Beginning String Orchestra Series. Grade 1. Score and parts. Published by Carl Fischer

Arranged by Joseph Compello. For Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Piano, Actors' Scripts. Carl Fischer Beginning String Orchestra Series. Grade 1. Score and parts. Published by Carl Fischer . Score and Parts.

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

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS27

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #YAS27. Published by Carl Fischer Music (CF.YAS27).

ISBN 9780825858345. UPC: 798408058340. 8.5 X 11 inches. Key: G major.

From the Rocky Mountains to the Pacific Ocean, Path to the Pacific reflects the open, airy and picturesque qualities of the American West. These textures are painted through the use of light syncopation, key modulations and triplets that will certainly ch.
From the opening driving cello melody to the final ensemble flourish, Path to the Pacific is an exciting and rewarding piece for young players to play.The accents in the cello during the lively introduction at m. 1 are integral to the feel of the melodic line and provide an engaging technical challenge. The AAB form begins as the piece decrescendos to the quiet ‘A’ section at m. 9, featuring violin 1 with a singing, lyrical melody.The robust, joyous ‘B’ section is played with intensity, but still legato. The return to the ‘A’ material at m. 37 features the Cello. The 2nd statement of the ‘B’ material at m. 45 is highlighted by a refreshing tonal shift to the key of E then back to the key of ‘G’ before the crescendo to the fermata in m. 58.The active cello theme from the introduction returns in the A Tempo section at m. 59 at a piano dynamic. This begins the build to the maestoso section at m. 71. Measures 63-70 are the most aggressive bars of the composition. Strive for rhythmic precision when approaching the quintal harmony in m. 63-64, the accented figures in m. 65-67, and the triplet figures in m. 68-69. A rich, resonant tone from the full ensemble will make the maestoso section in m. 71 move powerfully to the final bar.

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

Composed by Bernofsky Lauren. Folio. Score and part(s). 84 Cover pages. Duration 3:30. Carl Fischer Music #CAS123. Published by Carl Fischer Music

Orchestra String Orchestra - Medium

SKU: CF.CAS39F

Composed by Sean O'Loughlin. SWS. Carl Fischer Concert String Orchestra Series. Classical. Full score. With Standard notation. 16 pages. Carl Fischer Music #CAS39F. Published by Carl Fischer Music (CF.CAS39F).

ISBN 9780825863714. UPC: 798408063719. 8.5 X 11 inches. Key: C major.

Rich in colorful writing for the string orchestra, Dark Catacombs has the feeling of a sonic adventure in a legendary world, with striking contrasts in texture and style, between marcato and legato playing. Full of memorable melodies and interesting contrapuntal writing, this is a selection that will expand the musical horizons of the players.

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 2-2.5

SKU: CF.YAS50

Composed by Matt Turner. Carl Fischer Young String Orchestra Series. Scalin’ Back is a pop-rock string orchestra piece. A section that allows for solos has been provided at m. 33. Students are encouraged to improvise a solo using the pitches in the C-major scale. Classical. Score and Parts. With Standard notation. 8 pages. Carl Fischer Music #YAS50. Published by Carl Fischer Music (CF.YAS50).

ISBN 9780825863561. UPC: 798408063566. 8.5 X 11 inches. Key: C major.

Another fine rock-styled selection by the gifted Matt Turner that offers young players the chance to perform improvised solos with the ensemble. The basic framework of the piece is a lively and inventive use of simple rock progressions and standard rock rhythms.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Orchestra String Orchestra - Grade 3

SKU: CF.CAS18

Composed by Douglas Townsend. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS18. Published by Carl Fischer Music (CF.CAS18).

ISBN 9780825855016. UPC: 798408055011. 8.5 X 11 inches. Key: F major.

A truly masterful fantasy on an English folk song, this piece shows the exceptional musical development found in many of the greatest classical symphonies. The fantasy is roughly in the style of the classical rondo (ABACA) and features fine counterpoint and engaging melodies. This piece can be played in an orchestral and quartet setting and is both challenging and fun to play.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantas y on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends!I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins:There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin....The tune is rollicking and words are amusing, and yes, eventually they worked out their problems!The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies.This composition may be performed by a string orchestra or solo string quartet.- Douglas Townsend.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra String Orchestra - Grade 4

SKU: CF.CAS44

Composed by Alan Lee Silva. FS-SWS. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 24+24+4+10+10+5+10+16 pages. Carl Fischer Music #CAS44. Published by Carl Fischer Music (CF.CAS44).

ISBN 9780825867118. UPC: 798408067113. 8.5 X 11 inches. Key: G minor.

This is a tour-de-force for the advancing string orchestra. Beautiful, dramatic, and flowing, Waterloo Station is very fresh and contemporary. Students will love it for the lush harmonic textures and rhythmic drive that this composer is so noted for.
Composed as a characterization of the fast-paced atmosphere of London’s Waterloo Train Station, this fast-slow-fast piece combines technical excitement with heartfelt simplicity.The fast section in G minor consists of two main parts: the intense, emotional A section at m. 21 and the legato, sweeping B section at m. 59. The syncopated tutti figures in the high strings coupled with the fiery cello and bass lines propel the fast sections. The phrase in mm. 1–8 recurs throughout. Making four- to eight-measure exercises of this section below tempo in the violins and viola, focusing on rhythmic clarity, will help to lock in the syncopation. Similarly, the cello and bass should rehearse this slowly as well as mm. 9–16 to gain fluidity and insure a solid foundation.The cellos carry the tune at m. 71, and the ensemble builds from mm. 79–86 to the transition at m. 87. An abrupt change to half tempo here slows the momentum and transitions to a quiet, melancholy tone in m. 91. The middle section (ABA) begins in G minor with a somber quality, highlighted by the Violin I solo. It gradually builds to a beautiful, uplifting setting as it moves to G major in m. 100. Returning back to the hushed G minor tonality, it then speeds up again and transitions back to Tempo I for a brief recapitulation of the fast section. Measure 117 marks the return to vigorous playing, beginning softly and building to a thrilling ride to the end.

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 - 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 - medium easy

SKU: CF.CAS36

Composed by Traditional. Arranged by Roy Phillippe. Carl Fischer Concert String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS36. Published by Carl Fischer Music (CF.CAS36).

ISBN 9780825863646. UPC: 798408063641. 8.5 X 11 inches. Key: F major.

A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection.
Bring a Torch is a lovely Christmas carol. Using techniques such as suspensions, re-harmonization and modulations, my goal is to provide an interesting showcase for this familiar melody. the introduction in F major features sustained violins with a pattern of moving eighth notes in the violas and cellos. This pattern recurs throughout the piece. The first statement of the melody is in the first violins. The second violins supply harmonic support along with the viola/cello pattern. Measures 13-29 feature a section of tutti chordal playing. Measure 30 crescendos into the modulation to D major at m. 32. Here, the dynamic is forte, and the viola/cello pattern returns. At m. 40, the violas and cellos have the melody with violin accompaniment. A crescendo begins at m. 44 and builds to fortissimo at m. 48, featuring a modulation to G major. At this point the melody should soar. A descrescendo at m. 60 is followed by a ritard at m. 64. The final four measures are in the original tempo ending on a tutti chord.Careful attention to dynamics, especially in the accompanying parts, will result in a fine performance.

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