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
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
By Douglas Spata. For String Orchestra. String Orchestra. Highland String Orches...(+)
By Douglas Spata. For
String Orchestra. String
Orchestra. Highland
String Orchestra. Level:
3 (grade 3). Conductor
Score and Parts. 62
pages. Published by
Alfred Publishing.
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
Orchestra string orchestra - Grade 1 SKU: KJ.SO343C Composed by Jeremy Wo...(+)
Orchestra string
orchestra - Grade 1
SKU: KJ.SO343C
Composed by Jeremy
Woolstenhulme. Arranged
by Jeremy Woolstenhulme.
Score and parts. Neil A.
Kjos Music Company
#SO343C. Published by
Neil A. Kjos Music
Company (KJ.SO343C).
UPC:
8402704183.
Maiden'
s Rescue, in D Major,
includes note and rest
values limited to quarter
notes/rests, half notes,
and whole rests. It can
be successfully performed
at a range of tempos,
depending on the
experience level of the
orchestra. Rather than
writing for 1st and 2nd
violins, this piece
features a single violin
part.
Jeremy
Woolstenhulme composed
this work for his
beginning string
orchestra. He decided
that it should be a
programmatic work
accompanied by a short
story and artwork. Once
students became
comfortable with the
music and story, Mr.
Woolstenhulme assigned an
art project to them! Some
samples of their work are
printed in this
publication. Connecting
music, creative writing,
and visual arts
strengthened the entire
experience and students
definitely enjoyed the
process. Approx. time -
2:00
Steps to
Successful Literature
presents exceptional
performance pieces -
concert and festival
works for beginning to
intermediate string
orchestras. Each piece is
correlated with a
specific location in
String BasicsTM Books 1
or 2. Literature
reinforces musical
skills, concepts, and
terms introduced in the
method. Sometimes, a few
new concepts are included
and are officially
introduced and defined in
the score and parts. Each
string orchestra work
offers extended learning
opportunities and briefly
taps into one or more
elements related to
common core state
standards.
Orchestra string orchestra - Grade 1 SKU: KJ.SO343F Composed by Jeremy Wo...(+)
Orchestra string
orchestra - Grade 1
SKU: KJ.SO343F
Composed by Jeremy
Woolstenhulme. Arranged
by Jeremy Woolstenhulme.
Score. Neil A. Kjos Music
Company #SO343F.
Published by Neil A. Kjos
Music Company
(KJ.SO343F).
UPC:
8402704185.
Maiden'
s Rescue, in D Major,
includes note and rest
values limited to quarter
notes/rests, half notes,
and whole rests. It can
be successfully performed
at a range of tempos,
depending on the
experience level of the
orchestra. Rather than
writing for 1st and 2nd
violins, this piece
features a single violin
part.
Jeremy
Woolstenhulme composed
this work for his
beginning string
orchestra. He decided
that it should be a
programmatic work
accompanied by a short
story and artwork. Once
students became
comfortable with the
music and story, Mr.
Woolstenhulme assigned an
art project to them! Some
samples of their work are
printed in this
publication. Connecting
music, creative writing,
and visual arts
strengthened the entire
experience and students
definitely enjoyed the
process. Approx. time -
2:00
Steps to
Successful Literature
presents exceptional
performance pieces -
concert and festival
works for beginning to
intermediate string
orchestras. Each piece is
correlated with a
specific location in
String BasicsTM Books 1
or 2. Literature
reinforces musical
skills, concepts, and
terms introduced in the
method. Sometimes, a few
new concepts are included
and are officially
introduced and defined in
the score and parts. Each
string orchestra work
offers extended learning
opportunities and briefly
taps into one or more
elements related to
common core state
standards.
Stone and Steel Orchestre à Cordes [Conducteur et Parties séparées] Highland/Etling
Composed by Richard Meyer. Part(s); Score; String Orchestra. Highland/Etling Str...(+)
Composed by Richard
Meyer. Part(s); Score;
String Orchestra.
Highland/Etling String
Orchestra. Form:
Overture. 124 pages.
Published by
Highland/Etling
(AP.44847).
Stone and Steel Orchestre à Cordes [Conducteur] Highland/Etling
Composed by Richard Meyer. Score; String Orchestra. Highland/Etling String Orche...(+)
Composed by Richard
Meyer. Score; String
Orchestra.
Highland/Etling String
Orchestra. Form:
Overture. 24 pages.
Published by
Highland/Etling
(AP.44847S).
Orchestra strings - early intermediate SKU: KJ.101CD Composed by Gerald F...(+)
Orchestra strings - early
intermediate
SKU:
KJ.101CD
Composed by
Gerald Fischbach and
Robert Frost. Orchestra
method/study. Artistry in
Strings. CD. Neil A. Kjos
Music Company #101CD.
Published by Neil A. Kjos
Music Company (KJ.101CD).
UPC:
8402700132.
The two
Accompaniment CDs feature
stellar performances by
professional musicians to
encourage players.
About Artistry
in
Strings
Ar
tistry in Strings is a
groundbreaking string
method that will be at
home in your classroom or
private studio. Its
comprehensive approach
contains all the basic
tools necessary to
establish solid technique
and expressive music
making. Artistry in
Strings is a music
educator's dream,
combining a
performance-centered
approach with optional
theory, composing,
listening, assessment,
and interdisciplinary and
multi-cultural
studies.
Authors
Robert S. Frost, Gerald
Fischbach, and Wendy
Barden have combined
their vast experience as
educators to provide a
string method that is
well paced for all types
of beginning string
classes. Regardless of
class frequency and
duration, or class size
and student age, Artistry
in Strings will assist
you to achieve superior
results.
The Rings of Saturn Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Michael Story and Michael Story. Orchestra. String Orchestra. Orchestra Expre...(+)
By Michael Story and
Michael Story. Orchestra.
String Orchestra.
Orchestra Expressions
Book 1. Grade 1.5.
Conductor Score and
Parts. 66 pages.
Published by Alfred Music
Publishing
Arranged by Sandra Dackow. Performance Music Ensemble; Single Titles; String Orc...(+)
Arranged by Sandra
Dackow. Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk. Score. 12 pages.
Duration 1:30. Alfred
Music #00-45825S.
Published by Alfred Music
(AP.45825S).
Escape the Lost City Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
By Alan Lee Silva. For Violin I, Violin II, Violin III, Viola, Cello, Bass, Pian...(+)
By Alan Lee Silva. For
Violin I, Violin II,
Violin III, Viola, Cello,
Bass, Piano. Carl Fischer
Concert String Orchestra
Series. Grade 3 and up.
Score and part(s). 136
pages. Duration 3
minutes, 36 seconds.
Published by Carl Fischer
Snowflake Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
By Yukiko Nishimura. For Full Score, Violin I, Violin II, Violin III, Viola, Cel...(+)
By Yukiko Nishimura. For
Full Score, Violin I,
Violin II, Violin III,
Viola, Cello, Bass,
Piano. Carl Fischer Young
String Orchestra Series.
Grade 2-2.5. Score and
parts. Published by Carl
Fischer