Score Only.
Composed by Gustav Holst.
Arranged by Deborah Baker
Monday. Series; String
Orchestra. FJH String
Orchestra. Masterwork
Arrangement. Score.
Duration 4:30. The FJH
Music Company Inc
#98-ST6448S. Published by
The FJH Music Company Inc
(FJ.ST6448S).
English.
This
spectacular transcription
offers string orchestras
an alternative to Holst's
St. Paul's Suite. Based
on his Second Suite for
Band, this version
features Song of the
Blacksmith and Dargeson.
Written in the key of G
Major, the final movement
will prove to be less
difficult than St. Paul's
Suite, yet still has the
excitement and energy of
the original!
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
Second Suite Orchestre à Cordes - Intermédiaire FJH
Orchestra String Orchestra - Grade 4 SKU: FJ.ST6448 Composed by Gustav Ho...(+)
Orchestra String
Orchestra - Grade 4
SKU: FJ.ST6448
Composed by Gustav Holst.
Arranged by Deborah Baker
Monday. Series; String
Orchestra. FJH String
Orchestra. Masterwork
Arrangement. Score and
Part(s). Duration 4:30.
The FJH Music Company Inc
#98-ST6448. Published by
The FJH Music Company Inc
(FJ.ST6448).
UPC:
241444387658.
English.
This
spectacular transcription
offers string orchestras
an alternative to Holst's
St. Paul's Suite. Based
on his Second Suite for
Band, this version
features Song of the
Blacksmith and Dargeson.
Written in the key of G
Major, the final movement
will prove to be less
difficult than St. Paul's
Suite, yet still has the
excitement and energy of
the original!
About FJH
String
Orchestra
More emphasis on bow
technique and
independence of lines.
For the accomplished
middle, high school,
college, or professional
group. Grade 3 and up
Appalachian Suite Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
Arranged by Douglas E. Wagner. Traditional. For String Orchestra. String Orchest...(+)
Arranged by Douglas E.
Wagner. Traditional. For
String Orchestra. String
Orchestra. Belwin
Beginning String
Orchestra. Folk Song.
Level: 1.5 (grade 1.5).
Conductor Score and
Parts. 284 pages.
Published by Alfred
Publishing.
Composed by Gerald E.
Anderson. String Tracks.
Score and parts. Neil A.
Kjos Music Company
#SO105C. Published by
Neil A. Kjos Music
Company (KJ.SO105C).
This Annotated
Edition Of Handel's Suite
Features Comprehensive
Historical Notes And
Rehearsal Suggestions, In
Addition To Detailed
Fingerings And Bowings.
Grade 4, 9:40.
Composed by Gerald E.
Anderson. Score. Neil A.
Kjos Music Company
#SO105F. Published by
Neil A. Kjos Music
Company (KJ.SO105F).
This Annotated
Edition Of Handel's Suite
Features Comprehensive
Historical Notes And
Rehearsal Suggestions, In
Addition To Detailed
Fingerings And Bowings.
Grade 4, 9:40.
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 - Medium Easy/Medium SKU: CF.CAS22 Composed by...(+)
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
Followin
g the Renaissance volume,
this time it is Baroque
works (more precisely,
transcriptions of Baroque
vocal and instrumental
works) that are presented
in the Leggierissimo
series, extending the
repertoire of junior
string orchestras.
Roughly half of the
selection consists of
well-known pieces by the
greatest composers of the
period (Purcell: Dido and
Aeneas, Rameau: Pi ces de
clavecin, Händel:
Water Music, Music for
the Royal Fireworks, J.S.
Bach: B major partita, C
major orchestral suite),
but works by composers
less well known nowadays
(for example, G. Böhm
and J. C. F. Fischer) are
also included, together
with such unusual items
as Polish, German and
Hungarian dancesfrom
17th- and 18th-century
Hungarian manuscripts:
the Kájoni and
Vietórisz codexes, and
Eleonóra Lányi s
music book.
Nach
dem Renaissance-Band
erscheint die
Leggierissimo-Serie
nunmehr mit Barockwerken
(genauer: mit
Transkriptionen nach
vokalen und
instrumentalen
Barockwerken), die das
Repertoire der
Kinderstreichorchestern
erweitert. Etwa die
Hälfte der Sammlung
machen die Stücke der
allgemein bekannten Werke
der größten
Komponisten der Epoche
(H. Purcell: Dido und
Aeneas, J. Ph. Rameau: Pi
ces de clavecin, G. F.
Händel: Wassermusik,
Feuerwerksmusik, J. S.
Bach: Partita B-Dur,
Ouverture C-Dur) aus. Es
kommen in ihr aber auch
Stücke von heute
weniger bekannten
Komponisten (G. Böhm,
J. C. F. Fischer u.a.),
daneben als Besonderheit
polnische, deutsche und
ungarische Tänze aus
dem 17. und
18.Jahrhundert aus dem
Kájoni- und
Vietórisz-Kodizes und
aus dem Notenbuch der
Eleonora Lányi
vor.