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.
(Featuring: Minas Tirith / Into the West / The Return of the King). By Howard Sh...(+)
(Featuring: Minas Tirith
/ Into the West / The
Return of the King). By
Howard Shore. Arranged by
Michael Story. Orchestra.
Full Orchestra. Pop
Intermediate Full/String
Orchestra. Contemporary;
Light Concert; Movie;
Spring. Grade 2.5.
Conductor Score and
Parts. 125 pages.
Duration 4:53
By Soon Hee Newbold.
Intermediate String
Orchestra. FJH Developing
Strings. Score for this
title: ST6112S. Extra
part for this title:
ST6112P. String
Orchestra. Level: 2.5.
Score and Set of Parts.
Published by The FJH
Music Company Inc.
Score Only.
Composed by Kathryn
Griesinger. Series;
String Orchestra. FJH
Beginning Strings.
Masterwork Arrangement.
Score. The FJH Music
Company Inc #98-ST6503S.
Published by The FJH
Music Company Inc
(FJ.ST6503S).
English.
Feature
every section of your
orchestra in this
swashbuckling piece!
Three distinct pirate
themes are given to the
violins, violas, and
cellos/basses to allow
all players a chance to
shine. All seafaring
melodies stay in first
position with minimal
low-two finger patterns
and lots of doubling for
a big, full sound. Each
section takes an
adventurous turn into new
tonalities before joining
forces at the end for a
triumphant finale!
About FJH
Beginning
Strings
Ap
propriate for first year
string students. All
instruments stay in first
position, and optional
third violin (viola)
parts and piano are
included to aid in
rehearsal and performance
situations. Grade 1 -
1.5
Composed by Kathryn
Griesinger. Series;
String Orchestra. FJH
Beginning Strings.
Masterwork Arrangement.
Score and Part(s). The
FJH Music Company Inc
#98-ST6503. Published by
The FJH Music Company Inc
(FJ.ST6503).
UPC:
241444414672.
English.
Feature
every section of your
orchestra in this
swashbuckling piece!
Three distinct pirate
themes are given to the
violins, violas, and
cellos/basses to allow
all players a chance to
shine. All seafaring
melodies stay in first
position with minimal
low-two finger patterns
and lots of doubling for
a big, full sound. Each
section takes an
adventurous turn into new
tonalities before joining
forces at the end for a
triumphant finale!
About FJH
Beginning
Strings
Ap
propriate for first year
string students. All
instruments stay in first
position, and optional
third violin (viola)
parts and piano are
included to aid in
rehearsal and performance
situations. Grade 1 -
1.5
Great Movie Themes Orchestre à Cordes [Conducteur] - Facile Alfred Publishing
(Featuring: All Star (from Shrek) / The James Bond Theme (from Die Ano...(+)
(Featuring: All Star
(from Shrek) / The
James Bond Theme (from
Die Another Day) /
Into the West (from
The Lord of the Rings:
The Return of the
King)). Orchestra.
String Orchestra. Belwin
Signature Performance
Series for Orchestra.
Movie. Grade 2. Conductor
Score. 32 pages
Great Movie Themes Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
(Featuring: All Star (from Shrek) / The James Bond Theme (from Die Ano...(+)
(Featuring: All Star
(from Shrek) / The
James Bond Theme (from
Die Another Day) /
Into the West (from
The Lord of the Rings:
The Return of the
King)). Orchestra.
String Orchestra. Belwin
Signature Performance
Series for Orchestra.
Movie. Grade 2. Conductor
Score and Parts. 180
pages
By Howard Shore, words by Fran Walsh, Howard Shore, Annie Lennox. Arranged by Do...(+)
By Howard Shore, words by
Fran Walsh, Howard Shore,
Annie Lennox. Arranged by
Douglas E. Wagner. Music
by Howard Shore, words by
Fran Walsh, Howard Shore,
Annie Lennox / arr.
Douglas E. Wagner. For
String Orchestra. String
Orchestra. Pop
Intermediate String
Orchestra. Movie. Level:
grade II-III. Conductor
Score. Published by
Alfred Publishing.
By Howard Shore, words by Fran Walsh, Howard Shore, Annie Lennox. Arranged by Do...(+)
By Howard Shore, words by
Fran Walsh, Howard Shore,
Annie Lennox. Arranged by
Douglas E. Wagner. Music
by Howard Shore, words by
Fran Walsh, Howard Shore,
Annie Lennox / arr.
Douglas E. Wagner. For
String Orchestra. String
Orchestra. Pop
Intermediate String
Orchestra. Movie. Level:
Easy to Medium Easy
(grade II-III). Conductor
Score and Parts. Duration
4:13. Published by Alfred
Publishing.
For String Orchestra. By Georges Bizet. Arranged by Roy Phillippe. String orches...(+)
For String Orchestra. By
Georges Bizet. Arranged
by Roy Phillippe. String
orchestra. This edition:
complete set. Carl
Fischer Performance
Series for String
Orchestra - Concert
String Orchestra.
Classical. Level: Medium
Easy/Medium. Score and
parts. 17 pages.
Published by Carl
Fischer.
Spy Vs. Spy Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
By Matt Turner. For Violin I, Violin II, Violin III, Viola, Cello, Bass, Piano, ...(+)
By Matt Turner. For
Violin I, Violin II,
Violin III, Viola, Cello,
Bass, Piano, Percussion 1
- Guiro, Percussion 2 -
Conga, Percussion 3 -
Bongos and Triangle. Carl
Fischer Young String
Orchestra Series. Grade
2-2.5. Score and parts.
Published by Carl Fischer
O Holy Night Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Belwin
Composed by Adolphe-Charles Adam (1803-1856). Arranged by Jeffrey E. Turner. Orc...(+)
Composed by
Adolphe-Charles Adam
(1803-1856). Arranged by
Jeffrey E. Turner.
Orchestra. Part(s);
Score; String Orchestra.
Belwin Intermediate
String Orchestra.
Christmas; Light Concert;
Winter. Grade 3. 74
pages. Published by
Belwin Music
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
Score Only.
Composed by Roger Zare.
Series; String Orchestra.
FJH String Orchestra.
Score. Duration 5:40. The
FJH Music Company Inc
#98-ST6334S. Published by
The FJH Music Company Inc
(FJ.ST6334S).
English.
Written
when the composer was a
mere 15 years old, this
jaunty scherzo will take
your ensemble on a
high-speed ride! Sections
take turns bouncing
around with the work's
catchy melodies before
moving into a slow detour
with lush and yearning
harmonies. The work
eventually returns to its
original tempo before
moving into a delightful
and unexpected ending.
Fabulous!
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
Lux et Umbra Orchestre à Cordes Editorial de Musica Boileau
String orchestra SKU: BO.B.3292 Composed by Jordi Cervello. Instrumental ...(+)
String orchestra
SKU:
BO.B.3292
Composed by
Jordi Cervello.
Instrumental Sets.
Duration 17:35. Published
by Editorial de Musica
Boileau (BO.B.3292).
English
comments: This is
the definitive version of
Biogenesis, a piece that
Cervello had written in
1976, together with his
friend Jorge Wagensberg,
and which was awarded the
First Prize at the
Spanish Ministry for
Education and Science's
Permanent Composition and
Musical Research
Competition. The new
version was made at
1984-85 Lux et umbra is
written for a string
group consisting of four
first and four second
violins, three violas,
three cellos and a double
bass. The conceptual
battle between darkness
and light is represented
by the instability
between the notes B and
C, and by the
compartmentation of the
group of fifteen strings
into divisi that provide
an independent
arrangement for each
instrument, thus
bestowing great substance
upon the texture of the
music. A cello cadence
emerges from a slow and
straightforward
beginning. A process of
contrasts then begins,
culminating in a molto
vivace passage of a
scherzando nature, which
alludes to the Baroque
concerti grossi. The
music once again plays
with chiaroscuro until
reaching its climax, from
which point the
conclusion slowly begins,
establishing itself in
the high register until
fading away. The work was
first performed at
Barcelona's Palau de la
Musica by the English
Chamber Orchestra,
directed by Enrique
Garcia Asensio, in 1987.
That same year, in the
newspaper El Pais, the
observations of the
composer and critic
Francesc Taverna-Bech
paid tribute to the
work's intelligence as
regards the use of and
search for instrumental
resources (in this case,
string instruments, about
which Cervello knows a
great deal), the skill
involved in endowing the
lyrical line with
tension, and a singular
touch that confers formal
essence upon the musical
discourse. In La
Vanguardia, Jordi Llovet
wrote that this is a work
in which, as is the case
with most of Cervello's
compositions, the
listener finds something
covertly religious, a
mysterious secret, a
transcendence linked to
the origins of
communication requiring
more than a single being,
which provides
excitement. In 1990, when
the Orquesta de Granada
(Orchestra of Granada)
performed the work at
Barcelona's Grec
festival, the critic
Cesar Calmell opined, in
the same newspaper, that
inch by inch, surely and
imperturbably, Cervello
built up a perfect world
that reflects the image
of the craftsman who, so
astonished at the
delights of his trade, is
unable to do anything but
turn the very backdrop of
tragedy into something
pleasant. Lux et umbra
was recorded by the
Orchestra Estatal of the
Hermitage, conducted by
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Music
critic
Comentari
os del Espanol: Se
trata de la version
definitiva de Biogenesis,
obra que habia escrito en
1976 en colaboracion con
su amigo Jorge Wagensberg
y que obtuvo el Primer
Premio, en el ano de su
creacion, en el Concurso
Permanente de Composicion
e Investigacion Musical
del Ministerio de
Educacion y Ciencia. La
nueva version fue
realizada en 1984-85. Lux
et umbra esta escrita
para un grupo de cuerda
integrado por cuatro
primeros violines, cuatro
segundos, tres violas,
tres violoncelos y un
contrabajo. El combate
filosofico entre la
oscuridad y la luz lo
lleva a cabo la
inestabilidad entre las
notas si y do y la
compartimentacion del
grupo de quince cuerdas
en unos divisi que llegan
a una escritura
independiente para cada
instrumento, otorgando
una gran importancia a la
textura sonora. De un
principio lento y
descarnado emerge una
cadencia del violonchelo.
A continuacion da
comienzo un proceso de
contrastes que culmina en
un pasaje molto vivace de
caracter scherzando que
alude a los concerti
grossi del barroco. La
musica juega de nuevo con
el claroscuro hasta
llegar a la cumbre sonora
iniciando el final
lentamente que se instala
en el registro agudo
hasta desvanecerse. La
estreno en el Palau de la
Musica de Barcelona la
English Chamber Orchestra
en el ano 1987 bajo la
direccion de Enrique
Garcia Asensio. Ese mismo
ano, en el periodico El
Pais, el compositor y
critico Francesc
Taverna-Bech reconocia en
sus comentarios la
inteligencia en el uso y
la busqueda de los
recursos instrumentales
-en este caso la cuerda,
de la que Cervello es
profundo conocedor-, la
destreza para revestir de
tension la linea lirica y
un tacto particular para
conferir entidad formal
al discurso sonoro. Jordi
Llovet, en La Vanguardia,
escribia que en esta
obra, se encuentra, como
en la mayor parte de la
produccion de Cervello,
algo secretamente
religioso, un arcano
misterioso, una
trascendencia vinculada a
los origenes de la
comunicacion
impracticable con el ser
unico que resulta
apasionante. En el ano
1990, cuando la Orquesta
de Granada la toco en el
Grec de Barcelona, era el
critico Cesar Calmell
quien, en el mismo
periodico consideraba que
Cervello construyo palmo
a palmo, segura e
imperturbablemente, un
mundo perfecto que
refleja la imagen del
artesano que, de tan
admirado con las delicias
de su oficio, no puede
hacer otra cosa que
convertir en agradable el
fondo mismo de la
tragedia. Lux et umbra
esta grabada por la
Orquesta Estatal del
Hermitage, dirigida por
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Critico musical.
String Orchestra (Study Score) SKU: HL.51487550 For String Orchestra, ...(+)
String Orchestra (Study
Score)
SKU:
HL.51487550
For
String Orchestra, Study
Score. Composed by
Peter Ilich Tchaikovsky.
Edited by Dominik Rahmer.
Henle Study Scores.
Classical. Softcover. G.
Henle #HN7550. Published
by G. Henle
(HL.51487550).
UPC:
196288207238.
6.75x9.5x0.251
inches.
Tchaikovsky
spent the summer and
autumn of 1880 at his
sister's country estate
in Kam'ianka, Ukraine,
where he sought peace and
relaxation. But after a
short time the desire to
work took hold of him
again. âI'm
sketching a symphony or
string quintet just now;
I don't know where it's
going yet,â he wrote
to his friend and
patroness Nadezhda von
Meck. In the end it
turned out to be a
Serenade for String
Orchestra, which numbers
among his most beautiful
inspirations and is today
a central work in the
genre. The four movements
captivate with their
diverse moods â be
it the Mozartian first
movement âin the
form of a sonatinaâ,
the elegant Waltz, the
melancholy
âElegiaâ or the
rousing Finale. For this
new source-critical
edition it was possible
to consult the autograph
in Moscow as well as the
early printed editions
into which Tchaikovsky
sometimes entered a
number of minor
revisions. Clear the
stage for the new
reference edition of this
indispensable work of the
string-orchestra
repertoire!
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
String Parts String Orchestra (String Set) SKU: HL.51481567 For String...(+)
String Parts String
Orchestra (String Set)
SKU: HL.51481567
For String Orchestra
String Parts.
Composed by Peter Ilich
Tchaikovsky. Edited by
Dominik Rahmer. Henle
Music Folios. Classical.
Softcover. 165 pages. G.
Henle #HN1567. Published
by G. Henle
(HL.51481567).
UPC:
196288206958.
9.25x12.0x0.824
inches.
Tchaikovsky
spent the summer and
autumn of 1880 at his
sisterÂs country
estate in KamÂianka,
Ukraine, where he sought
peace and relaxation. But
after a short time the
desire to work took hold
of him again. âI'm
sketching a symphony or
string quintet just now;
I don't know where it's
going yet,â he wrote
to his friend and
patroness Nadezhda von
Meck. In the end it
turned out to be a
Serenade for String
Orchestra, which numbers
among his most beautiful
inspirations and is today
a central work in the
genre. The four movements
captivate with their
diverse moods â be
it the Mozartian first
movement âin the
form of a sonatinaâ,
the elegant Waltz, the
melancholy
âElegiaâ or the
rousing Finale. For this
new source-critical
edition it was possible
to consult the autograph
in Moscow as well as the
early printed editions
into which Tchaikovsky
sometimes entered a
number of minor
revisions. Clear the
stage for the new
reference edition of this
indispensable work of the
string-orchestra
repertoire!
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
By Julie Lyonn Lieberman.
Orchestra. Score; String
Orchestra. Highland
String Alternatives.
Blues; Jazz; Light
Concert. Grade 3. 12
pages. Published by
Alfred Music Publishing
One Small Step... Orchestre à Cordes [Conducteur et Parties séparées] Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS29 Composed by...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS29
Composed by
Doris Gazda. This
edition: Medium
Easy/Medium. Carl Fischer
Concert String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 12 pages. Carl
Fischer Music #CAS29.
Published by Carl Fischer
Music (CF.CAS29).
ISBN
9780825860959. UPC:
798408060954. 8.5 X 11
inches. Key: C
major.
A
programatic work by
composer Doris Gazda that
sets out to depict the
historic moon landing by
the Apollo 11 astronauts
and the famous first step
by Neil Armstrong. A
sound portrait of this
remarkable event in
America history. In
July, 1959 the world
watched and listened as
the astronauts of Apollo
11 traveled from the
Earth to the moon. The
mission, launched by
NASA, successfully
carried men to the
surface of the moon and
returned them safely to
earth. The spaceship was
made up of a command
module, Columbia, and a
lunar module, Eagle.
Astronauts Neil
Armstrong, flight
commander, and Buzz
Aldrin, pilot of the
lunar module, actually
walked on the moon. The
third astronaut, Michael
Collins, piloted
Columbia, the command
module that orbited the
moon while Armstrong and
Aldrin were on the lunar
surface.The 238,000-mile
trip to the moon took
four days. Apollo 11 fell
into orbit 60 miles above
the moon's surface. The
Eagle separated from
Columbia, orbited the
moon nine miles above the
surface and then made a
powered descent, touching
down on the moon in the
Seat of Tranquility. Six
hours after landing,
Armstrong stepped onto
the moon's surface
uttering these memorable
words that brought to
reality the possibilities
of space travel and
exploration, That's one
small step for man, one
giant leap for
mankind.Armstrong and
Aldrin spent two hours
walking on the lunar
surface. They set up some
scientific equipment,
raised an American flag
and left a plaque signed
by the Apollo 11 crew and
President Richard Nixon,
reading:Here men from
planet earth first set
foot upon the moon. July
1969 A.D. We came in
peace for all
mankind.Twenty-one hours
after landing, the Eagle
with Armstrong and Aldrin
onboard, left the moon to
reunite with Columbia.
After docking
successfully, all three
men got into Columbia.
They jettisoned the Eagle
and Columbia left lunar
orbit to make the return
trip. Two days later
Columbia re-entered the
Earth's atmosphere and
splashed down in the
Pacific Ocean.
Rondino Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 3 SKU: CF.CAS42 On a Theme of Beeth...(+)
Orchestra String
Orchestra - Grade 3
SKU: CF.CAS42
On a Theme of
Beethoven. Composed
by Fritz Kreisler.
Arranged by Doris Gazda.
Carl Fischer Concert
String Orchestra Series.
Score and Parts. With
Standard notation.
16+4+10+10+16+5+8 pages.
Carl Fischer Music
#CAS42. Published by Carl
Fischer Music (CF.CAS42).
ISBN 9780825867071.
UPC: 798408067076. 8.5 X
11 inches. Key: D
major.
This popular
piece for solo violin and
piano has been skillfully
arranged by string
pedagogue Doris Gazda. A
standard piece in the
repertoire, it adapts
quite well to the string
orchestra. This is an
excellent piece for an
advancing group. A
rondo is a musical form
that was commonly used by
composers from the
classical through the
romantic music periods.
It was often the form
used for the last
movement of a sonata, a
symphony, a concerto or a
piece of chamber
music.The rondo form
consists of a main theme
(part A) that recurs with
contrasting sections
(parts B, C, D and so on)
in between. The
contrasting sections can
change key and can change
from major to minor
tonality. A typical form
of a rondo might be
ABACADABA. It is usually
written in triple meter,
and is lively and joyful
in character. Beethoven
used the rondo form quite
often, and Fritz
Kreisler, the famous
violinist and composer,
found a Beethoven melody
and turned it into this
“little
rondo,†or rondino,
written originally for
violin and piano.This
arrangement for string
orchestra can also be
played by a small string
ensemble. It should be
played with a light style
of bowing so as to give
it a happy, lilting
quality.
Soprano & String
Orchestra. Composed
by Carl Vine. Larger
Works; Masterworks;
Performance Music
Ensemble; Vocal Extended
Work. Faber Edition. 20th
Century; Masterwork;
Secular. Score. Faber
Music #12-0571572251.
Published by Faber Music
(AP.12-0571572251).
ISBN 9780571572250.
English.
Lyrical,
direct, and exhibiting a
masterful understanding
of vocal writing, Carl
Vine's secular cantata
for soprano and strings,
The Tree of Man, is a
gift to audience and
musicians alike. The
11-minute work, written
in 2012 for the
Australian Chamber
Orchestra and soprano
Daniele de Niese, is
based on a passage from a
novel of the same name by
the Nobel Prize-winning
author Patrick White.
Vine knew White
personally (having
written music for several
of his stage plays in the
1980s), and his setting
perfectly complements the
simplicity and sincerity
of the prose. The music
moves in an arc from its
quietly insistent
beginnings and rhapsodic
central section to a
haunting conclusion,
where the brooding
opening returns before
evaporating into the air
. . .
Bring A Torch Orchestre à Cordes [Conducteur et Parties séparées] - Facile 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