Choose Your Fighter Orchestre à Cordes [Conducteur et Parties séparées] Alfred Publishing
From Barbie. Composed by Amanda Koci, Henry Walter, Madison Love, Music by Mic...(+)
From Barbie. Composed by
Amanda Koci, Henry
Walter,
Madison Love, Music by
Michael
Pollack, and Words.
Arranged
by Chris M. Bernotas.
Performance Music
Ensemble;
Single Titles; String
Orchestra. Pop
Intermediate
String Orchestra. Movie;
Pop;
Pop/Rock. Score and
Part(s).
Alfred Music #00-50775.
Published by Alfred Music
Summer Dance Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19 Composed by Alan L...(+)
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 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
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
Highbridge Way Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS19 Full Score and ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS19
Full Score and
Parts. Composed by
Carl Strommen. Edited by
Amy Rosen. Carl Fischer
First Plus String
Orchestra Series. Score
and Parts. With Standard
notation. 8+8+8+5+5+5+2
pages. Carl Fischer Music
#FAS19. Published by Carl
Fischer Music (CF.FAS19).
ISBN 9780825851933.
UPC: 798408051938. 8.5 X
11 inches. Key: G
major.
In the grand
style of the British
March, Highbridge Way
should be played in
a crisp and liquid manner
paying close attention to
the articulation and
dynamic markings. The
mezzo piano in
m. 5 introduces the theme
and slowly builds until
m. 37, where the dynamic
indication is forte. At
m. 45, the dynamic is
mezzo piano, and
we are brought back to
the theme at m. 53, which
begins as piano and
builds to m. 65 and to
the finale. In the
grand style of the
British March,A
Highbridge WayA
should be played in
a crisp and liquid manner
paying close attention to
the articulation and
dynamic markings. TheA
mezzo piano in
m. 5 introduces the theme
and slowly builds until
m. 37, where the dynamic
indication is forte. At
m. 45, the dynamic isA
mezzo piano, and
we are brought back to
the theme at m. 53, which
begins as piano and
builds to m. 65 and to
the finale. In the
grand style of the
British March, Highbridge
Way should be played in a
crisp and liquid manner
paying close attention to
the articulation and
dynamic markings. The
mezzo piano in m. 5
introduces the theme and
slowly builds until m.
37, where the dynamic
indication is forte. At
m. 45, the dynamic is
mezzo piano, and we are
brought back to the theme
at m. 53, which begins as
piano and builds to m. 65
and to the finale. In
the grand style of the
British
March, Highbridge
Way should be played
in a crisp and liquid
manner paying close
attention to the
articulation and dynamic
markings. The mezzo
piano in m. 5 introduces
the theme and slowly
builds until m. 37, where
the dynamic indication is
forte. At m. 45, the
dynamic is mezzo
piano, and we are brought
back to the theme at m.
53, which begins as piano
and builds to m. 65 and
to the finale.
Composed by Traditional
Holiday Song. Edited by
Amy Rosen. Arranged by
Bud Caputo. SWS FS. Carl
Fischer Young String
Orchestra Series. Score
and Parts. With Standard
notation.
16+2+4+16+10+10+3+10+12
pages. Carl Fischer Music
#YAS15. Published by Carl
Fischer Music (CF.YAS15).
ISBN 9780825851995.
UPC: 798408051990. 8.5 X
11 inches. Key: D
minor.
Lower
strings be sure to
maintain a steady pulse
and dont rush the walking
figure at the opening.
When the melody is
transferred to the lower
strings (pick-up to m. 10
and m. 13), play with a
full sound. Be careful of
the balance and allow the
soloist to dominate in
mm. 121. If the soloist
is comfortable using
third position, play mm.
119 and the first half of
m. 20 one octave higher.
All parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and donat
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1a21. If the soloist
is comfortable using
third position, play mm.
1a19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and don't
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1-21. If the soloist
is comfortable using
third position, play mm.
1-19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and
don’t rush the
walking figure at the
opening. When the melody
is transferred to the
lower strings (pick-up to
m. 10 and m. 13), play
with a full sound. Be
careful of the balance
and allow the soloist to
dominate in mm.
1–21. If the
soloist is comfortable
using third position,
play mm. 1–19 and
the first half of m. 20
one octave higher.All
parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.String
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
Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major.
When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner.
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS27 Composed by Alan L...(+)
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
The Sprint Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
(Full Score and Parts). By Alan Lee Silva. String orchestra. For String Orchestr...(+)
(Full Score and Parts).
By Alan Lee Silva. String
orchestra. For String
Orchestra. Carl Fischer
Concert String Orchestra
Series. Classical. Medium
Easy/Medium. Score and
Parts. Standard notation.
16 pages. Published by
Carl Fischer . Score and
Parts. classical.
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS10 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS10
Full
Score and Parts.
Composed by Wolfgang
Amadeus Mozart. Edited by
Amy Rosen. Arranged by
Roy Phillippe. FS-SWS.
Carl Fischer Concert
String Orchestra Series.
Score and Parts. With
Standard notation. K 525.
24+6+24+15+15+15+16
pages. Carl Fischer Music
#CAS10. Published by Carl
Fischer Music (CF.CAS10).
ISBN 9780825847615.
UPC: 798408047610. 8.5 X
11 inches. Key: G
major.
With this
arrangement, my goal is
to maintain the integrity
of the original work,
while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unison forte,
which suddenly drops to
piano at m. 11.
Accents, staccatos, and
other articulations
should be carefully
observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement. With
this arrangement, my goal
is to maintain the
integrity of the original
work, while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unisonA forte,
which suddenly drops toA
piano at m. 11.
Accents, staccatos, and
other articulations
should be carefully
observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement. With
this arrangement, my goal
is to maintain the
integrity of the original
work, while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unison forte, which
suddenly drops to piano
at m. 11. Accents,
staccatos, and other
articulations should be
carefully observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement. With
this arrangement, my goal
is to maintain the
integrity of the original
work, while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unison forte, which
suddenly drops
to piano at m. 11.
Accents, staccatos, and
other articulations
should be carefully
observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS33 Composed by Sean O...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS33
Composed by Sean
O'Loughlin. SWS - FS.
Carl Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
8+16+16+4+10+10+10+3
pages. Carl Fischer Music
#YAS33. Published by Carl
Fischer Music (CF.YAS33).
ISBN 9780825858468.
UPC: 798408058463. 8.5 X
11 inches. Key: G
major.
A walk
through the park or a
morning stroll through
the forest is what this
piece best calls to mind.
With its pastoral setting
and lush melodies, Velvet
Morning will truly
showcase your group's
mastery of legato
playing. Velvet
Morning is a warm and
colorful work for string
orchestra. Please
play con sordino if
available. The music is a
reflection of my love for
the orchestral music of
Barber, Ravel, Debussy
and Satie. It should have
the same sense of passion
and intensity that those
masters employ in their
music.The opening tempo
is marked rubato, and
should speed up then slow
down based on the
phrases. The main melody
appears at m. 11 in the
first violins and should
have a flowing quality.
The harmony does utilize
some slight dissonances
from time to time which
should be emphasized. The
violas and cellos take
over the melody at m.19
with a counter line in
the violins. The melody
returns to the violin at
m. 27 with a pianistic
cello line punctuated
by pizzicato in the
bass. Some transitional
material follows that
builds up to a full
presentation at m. 47.
Let the ensemble open up
here with an intense,
full sound. This winds
down to a return of the
introduction at m. 60.
The ending should be
tender and deliberate all
the way to the last plush
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 2-2.5 SKU: CF.YAS33F Full Score...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS33F
Full Score.
Composed by Sean
O'Loughlin. Carl Fischer
Young String Orchestra
Series. Full score. With
Standard notation. 8
pages. Carl Fischer Music
#YAS33F. Published by
Carl Fischer Music
(CF.YAS33F).
ISBN
9780825858475. UPC:
798408058470. 8.5 X 11
inches. Key: G
major.
A walk
through the park or a
morning stroll through
the forest is what this
piece best calls to mind.
With its pastoral setting
and lush melodies, Velvet
Morning will truly
showcase your group's
mastery of legato
playing. Velvet
Morning is a warm and
colorful work for string
orchestra. Please
play con sordino if
available. The music is a
reflection of my love for
the orchestral music of
Barber, Ravel, Debussy
and Satie. It should have
the same sense of passion
and intensity that those
masters employ in their
music.The opening tempo
is marked rubato, and
should speed up then slow
down based on the
phrases. The main melody
appears at m. 11 in the
first violins and should
have a flowing quality.
The harmony does utilize
some slight dissonances
from time to time which
should be emphasized. The
violas and cellos take
over the melody at m.19
with a counter line in
the violins. The melody
returns to the violin at
m. 27 with a pianistic
cello line punctuated
by pizzicato in the
bass. Some transitional
material follows that
builds up to a full
presentation at m. 47.
Let the ensemble open up
here with an intense,
full sound. This winds
down to a return of the
introduction at m. 60.
The ending should be
tender and deliberate all
the way to the last plush
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
Two Daughters Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS45 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS45
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS45.
Published by Carl Fischer
Music (CF.YAS45).
ISBN
9780825863462. UPC:
798408063467. 8.5 X 11
inches. Key: A
major.
Two
Daughters is a flowing
and impassioned
composition dedicated to
the composer's daughters
that gives the young
string orchestra ample
chances to display its
lyrical abilities.
Several solo passages
vary the texture, which
displays Alan Lee Silva's
usual flair for lush
contemporary harmonic
writing. From the
poignant, heartwarming
violin melody at m. 5, to
the soaring ensemble
climax at m. 61, Two
Daughters is a flowing,
lyrical composition with
a wide dynamic range.
Written in AABA form with
a bridge, the delicate
introduction sets up a
legato violin solo at m.
5. The piece builds to
the singing B-section (m.
21) and returns again to
the gentle A-melody (m.
29). The cello is
featured in m. 37 under a
soft, high string
sustain. Two modulations
(mm. 37 and 52) move
seamlessly and build
excitement to the bridge,
highlighted by
alternating melodic
phrases. The slower
ending section (m.69) is
played with intensity,
featuring more
sixteenth-note passages.
The final two measures
return to the sweet,
gentle feeling of the
introduction.
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
Waterloo Station Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Grade 4 SKU: CF.CAS44 Composed by Alan Lee S...(+)
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
Bring A Torch Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - medium easy SKU: CF.CAS36 Composed by Tradit...(+)
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
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.
Summer Dance Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19F Composed by Alan ...(+)
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
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
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
By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Mark Weston, scored by Doug...(+)
By Peter Ilyich
Tchaikovsky (1840-1893).
Arranged by Mark Weston,
scored by Douglas E.
Wagner. Orchestra. For
strings w/ vln 3.
Masterworks; Part(s);
Score; String Orchestra.
Belwin Beginning String
Orchestra. Christmas;
Light Concert; Masterwork
Arrangement; Novelty;
Romantic; Winter. Grade
2.5. 144 pages. Published
by Belwin Publishing
Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS34
Full
Score and Parts.
Composed by Sean
O'Loughlin. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
12+16+16+4+10+10+10+4
pages. Carl Fischer Music
#CAS34. Published by Carl
Fischer Music (CF.CAS34).
ISBN 9780825861055.
UPC: 798408061050. 8.5 X
11 inches. Key: E
minor.
Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday-afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walk Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
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