Once Upon a Time Signature Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Richard Meyer. Orchestra. Part(s); Score; SmartMusic; String Orchestra. Highl...(+)
By Richard Meyer.
Orchestra. Part(s);
Score; SmartMusic; String
Orchestra.
HighlandåÊString
Explorer. Light Concert.
Grade 1.5. 70 pages.
Published by Alfred Music
Publishing
America's Cup Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS37 For Stri...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS37
For
String Orchestra.
Composed by Alan Lee
Silva. This edition:
complete set. FS-SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
24+24+6+15+21+15+15+20
pages. Carl Fischer Music
#CAS37. Published by Carl
Fischer Music (CF.CAS37).
ISBN 9780825863660.
UPC: 798408063665. 8.5 X
11 inches. Key: C
major.
A salute to
the famous sailboat race,
this rollicking piece in
A minor introduces
compound time with an
opening (and closing)
section in 12/8. The fast
flowing music of the
opening, vividly
suggestive of a ship
slicing through the
waves, returns in a
higher key (B minor)
after a warmly scored,
sweepingly melodic middle
section. This is a piece
whose sophistication is
an excellent showcase for
a more advanced
performing
group. Written in 12/8
in A minor,
America’s Cup
evokes the intensity and
momentum of a wild sea
with driving triplets,
sweeping melodies, and
accented downbeats. The
A-material from the
opening measure is played
aggressively but lightly
enough to keep the
feeling of forward
motion. Strong accents
and rhythmically precise
playing in the cello and
bass provide solid
support for the fast
moving violin and viola
passages. Measure 67
begins the slow, pastoral
setting of the
B-material. A gentle,
lyrical violin motive in
A major grows into a
high, sweeping melody
over sustained harmonies.
This provides a brief
repose before returning
to the fastoriginal tempo
and minor key as the
recapitulation begins at
m. 90. A modulation to B
minor (m. 94) lifts the
energy of the piece and
gives young players the
challenge of playing the
running lines in another
key. Measure 118 builds
to the end, keeping the
intensity a soft dynamic
and growing into the
final syncopated tutti
unison figure in mm.
122–123.
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
It's Holiday Time Orchestre à Cordes [Conducteur et Parties séparées] Alfred Publishing
(Featuring: Up on the Housetop / Dreydl, Dreydl / Jingle Bells / Deck the Halls)...(+)
(Featuring: Up on the
Housetop / Dreydl, Dreydl
/ Jingle Bells / Deck the
Halls). Arranged by John
O'Reilly. Orchestra. For
string w/ vln3, pno.
Part(s); Score; String
Orchestra. Sound
Innovations for Strings.
Form: Medley. Christmas;
Secular; Winter. Gra
It's Holiday Time Orchestre à Cordes [Conducteur] - Débutant Alfred Publishing
(Featuring: Up on the Housetop / Dreydl, Dreydl / Jingle Bells / Deck the Halls)...(+)
(Featuring: Up on the
Housetop / Dreydl, Dreydl
/ Jingle Bells / Deck the
Halls). Arranged by John
O'reilly. Orchestra.
Score; String Orchestra.
Sound Innovations for
Strings. Form: Medley.
Christmas; Secular;
Winter. Grade 1.5. 8
pages. Published by
Alfred Music Publishing
The Sailor's Hornpipe Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
With a Yo Heave Ho. Arranged by Sandra Dackow. Part(s); Score; String Orc...(+)
With a Yo Heave
Ho. Arranged by
Sandra Dackow. Part(s);
Score; String Orchestra.
Orchestra Expressions.
Folk. 148 pages.
Published by Alfred Music
(AP.44789).
Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
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
Fiddler on the Housetop Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Andrew H. Dabczynski. Orchestra. Part(s); Score; String Orchestra. HighlandÂ...(+)
By Andrew H. Dabczynski.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Explorer. Christmas;
Novelty; Secular; Winter.
Grade 1.5. 130 pages.
Published by Alfred Music
Shark Attack! Orchestre à Cordes [Conducteur et Parties séparées] - Débutant FJH
By Les Taylor. Arranged by Les Taylor. Beginning Orchestra. Real Music for Begin...(+)
By Les Taylor. Arranged
by Les Taylor. Beginning
Orchestra. Real Music for
Beginning Strings. Full
set (score and parts).
Score only also
available: S. String
Orchestra. Score and Set
of Parts. Composed 2002.
Published by The FJH
Music Company Inc.
Level: Grade 1.5.
Arranged by Douglas E. Wagner. Part(s); Score; String Orchestra. Belwin Beginnin...(+)
Arranged by Douglas E.
Wagner. Part(s); Score;
String Orchestra. Belwin
Beginning String
Orchestra. Form: Medley.
Christmas; Sacred;
Secular; Winter. 72
pages. Published by
Belwin Music (AP.45820).
Arranged by Julie Lyonn
Lieberman. Orchestra.
Part(s); Score; String
Orchestra. Highland
String Alternatives.
Folk; Light Concert.
Grade 2. 62 pages.
Published by Alfred Music
Publishing
Swamp Thang Orchestre à Cordes [Conducteur et Parties séparées] Highland/Etling
Stompin' the Bayou. Composed by Richard Meyer. Performance Music Ensemble...(+)
Stompin' the
Bayou. Composed by
Richard Meyer.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form: Rondo.
Jazz. Part(s); Score. 124
pages. Duration 4:00.
Highland/Etling
#00-45875. Published by
Highland/Etling
(AP.45875).
Jingle Basses Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Alfred Publishing
(Bass Section Feature). Arranged by Bob Phillips. Orchestra. Part(s); Score; Str...(+)
(Bass Section Feature).
Arranged by Bob Phillips.
Orchestra. Part(s);
Score; String Orchestra.
Sound Innovations for
Strings. Christmas;
Winter. Grade 1. 72
pages. Published by
Alfred Music
With a Yo Heave Ho. Arranged by Sandra Dackow. Performance Music Ensemble...(+)
With a Yo Heave
Ho. Arranged by
Sandra Dackow.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Orchestra Expressions.
Folk. Score. 12 pages.
Duration 2:25. Alfred
Music #00-44789S.
Published by Alfred Music
(AP.44789S).
Lonestar Variations Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland String O...(+)
By Richard Meyer.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Orchestra. Form:
Variations. Light
Concert. Grade 3.5. 124
pages. Published by
Alfred Music Publishing
Orchestra String Orchestra - Grade 1 SKU: CF.BAS38F Composed by Joseph Co...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS38F
Composed by Joseph
Compello. SWS. Carl
Fischer Beginning String
Orchestra Series. Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #BAS38F.
Published by Carl Fischer
Music (CF.BAS38F).
ISBN 9780825866616.
UPC: 798408066611. 8.5 X
11 inches.
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
Arranged by Joseph Compello. For Violin I, Violin II, Violin III (Viola T.C.), V...(+)
Arranged by Joseph
Compello. For Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano,
Actors' Scripts. Carl
Fischer Beginning String
Orchestra Series. Grade
1. Score and parts.
Published by Carl Fischer
. Score and Parts.
Éléganté Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
By Susan H. Day. Orchestra. For string. Part(s); Score; String Orchestra. Highla...(+)
By Susan H. Day.
Orchestra. For string.
Part(s); Score; String
Orchestra. Highland
String Orchestra. Form:
Ballade. Grade 2.5. 124
pages. Published by
Alfred Music Publishing
Composed by Lennie
Niehaus. String Tracks.
Score. Neil A. Kjos Music
Company #JSO292F.
Published by Neil A. Kjos
Music Company
(KJ.JSO292F).
UPC:
8402703938.
Add
some flare to your next
concert with this rousing
selection by living
legend Lennie Niehaus.
Featuring a diverse range
of styles, from the
heroic to the
contemplative, this piece
has something for
everyone. It's sure to be
a favorite with students
and audiences alike.
Orchestra strings - beginner SKU: KJ.SO336F Composed by Raymond Brown. Ar...(+)
Orchestra strings -
beginner
SKU:
KJ.SO336F
Composed by
Raymond Brown. Arranged
by Raymond Brown. Score.
Neil A. Kjos Music
Company #SO336F.
Published by Neil A. Kjos
Music Company
(KJ.SO336F).
UPC:
8402704167.
Into
the Dragon's Den focuses
on playing F-sharps and
F-naturals, and helps
students become more
comfortable with 2-note
slurs. The piece centers
around E minor, offering
the perfect mood for the
subject: confronting
difficult things and
handling fear. As Mr.
Brown mentions in his
program notes, Like the
brave knight [heading
into the dragon's den],
beginning string students
have to venture into the
dark unknown to confront
F-natural. Approx. time -
2:30
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.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.
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.
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
Prairie Lullaby Orchestre à Cordes [Conducteur] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5F Composed by Joseph Com...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5F
Composed by Joseph
Compello. Carl Fischer
Beginning String
Orchestra Series. Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #BAS5F.
Published by Carl Fischer
Music (CF.BAS5F).
ISBN
9780825845093. UPC:
798408045098. 8.5 X 11
inches.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Composed by William
Owens. Series; String
Orchestra. FJH Beginning
Strings. Light Concert;
Multicultural; Novelty;
Spiritual. Score and
Part(s). Duration 1:45.
The FJH Music Company Inc
#98-ST6291. Published by
The FJH Music Company Inc
(FJ.ST6291).
UPC:
674398230297.
English.
This
lively original work
embodies the character
and spirit of the
African-American
spiritual. Combining
themes of struggle,
oppression, and hope for
the future, the music
begins quite vigorously
before easing into a
haunting middle section.
Soon after, the music
returns to its joyous
nature, which is carried
through to the spirited
ending. Includes optional
percussion.
Composed by
Brian Balmages. Series;
String Orchestra. FJH
String Orchestra.
Multicultural. Score and
Part(s). Duration 7:30.
The FJH Music Company Inc
#98-ST6486. Published by
The FJH Music Company Inc
(FJ.ST6486).
UPC:
241444402634.
English.
This
four-movement suite is
based on French folk
songs and was
specifically written for
groups that may not be
ready for St. Paul's
Suite or Capriol Suite,
but still want to be able
to dig into a substantial
piece. In addition to the
variety of styles, keys
and time signatures, the
last movement playfully
pays homage to Holst's
The Dargason. A fabulous
addition to the
repertoire!
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