Composed by Doris Gazda.
Edited by Amy Rosen. Carl
Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
16+4+16+10+10+4+10+12
pages. Carl Fischer Music
#YAS10. Published by Carl
Fischer Music (CF.YAS10).
ISBN 9780825848261.
UPC: 798408048266. 8.5 X
11 inches. Key: D
major.
When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody ofA Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course,A Roadrunner
Rally ends with a
loudly emphasized honking
noise, theA beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind
you of the sight of a
roadrunner traveling
along at breakneck speed.
A crisp spiccato
accompanied by pizzicato
in the cello and bass
paints the picture of the
bird running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a
loudly emphasized honking
noise, the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners. The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner Rally
ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner. When
traveling through the
desert southwest of the
United States, you may be
fortunate enough to come
across a strange looking
brown and white streaked
bird called the
Roadrunner. It has a blue
patch of skin circling
the eyes, a tiny dot of
bright red behind the
eyes, a bushy crest on
the top of its head and a
long tail that bobs up
and down. A member of the
cuckoo family, it is New
Mexico's state bird, and
can run in bursts of
speed from between ten to
twenty miles per hour.
Because it is equipped to
run rather than fly, its
feet are different from
other bird species,
having two toes in front
and two toes in the back.
Its tracks looks like the
letter X. Although
roadrunners can become
airborne, they are
basically ground birds
and do not fly. They eat
insects, scorpions, small
rodents, birds, lizards
and snakes. They do make
noise when in danger;
however, the clicks and
clatters do not resemble
the sound of a honking
horn that we think of
from the Hollywood
cartoon version of
roadrunners.The repeated
notes in the opening
melody of Roadrunner
Rally will remind you of
the sight of a roadrunner
traveling along at
breakneck speed. A crisp
spiccato accompanied by
pizzicato in the cello
and bass paints the
picture of the bird
running through the
desert. At m. 17 you will
hear that raucous honk,
honk that is associated
with the roadrunner
saying Out of my way! The
syncopation can easily be
learned by feel as well
as by counting carefully.
At m. 25 and similar
passages, the first
violins will have fun
learning the jazz licks.
The walking bass like at
m.69 with the jerky sound
of the octaves in the
upper strings will remind
you of the awkward
appearance of this
ungainly bird. And of
course, Roadrunner
Rally ends with a loudly
emphasized honking noise,
the beep that we
associate with the
humorous picture of the
roadrunner.
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS10 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS10
Full
Score and Parts.
Composed by Wolfgang
Amadeus Mozart. Edited by
Amy Rosen. Arranged by
Roy Phillippe. FS-SWS.
Carl Fischer Concert
String Orchestra Series.
Score and Parts. With
Standard notation. K 525.
24+6+24+15+15+15+16
pages. Carl Fischer Music
#CAS10. Published by Carl
Fischer Music (CF.CAS10).
ISBN 9780825847615.
UPC: 798408047610. 8.5 X
11 inches. Key: G
major.
With this
arrangement, my goal is
to maintain the integrity
of the original work,
while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unison forte,
which suddenly drops to
piano at m. 11.
Accents, staccatos, and
other articulations
should be carefully
observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement. With
this arrangement, my goal
is to maintain the
integrity of the original
work, while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unisonA forte,
which suddenly drops toA
piano at m. 11.
Accents, staccatos, and
other articulations
should be carefully
observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement. With
this arrangement, my goal
is to maintain the
integrity of the original
work, while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unison forte, which
suddenly drops to piano
at m. 11. Accents,
staccatos, and other
articulations should be
carefully observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement. With
this arrangement, my goal
is to maintain the
integrity of the original
work, while making it
accessible to the younger
orchestra. An important
aspect of the successful
performance of this piece
is maintaining an
energetic tempo. The
repeated eighth notes in
the accompaniment should
be played cleanly and
crisply to maintain
momentum. There are many
places where abrupt
changes in dynamics
occur. For example, m. 1
begins with a string
unison forte, which
suddenly drops
to piano at m. 11.
Accents, staccatos, and
other articulations
should be carefully
observed. To be
effective, crescendos
should begin at a
reasonable volume, so
they have somewhere to go
dynamically. I hope you
and the orchestra enjoy
this arrangement.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS26 Full Score....(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS26
Full Score.
Composed by Sean
O'Loughlin. Carl Fischer
First Plus String
Orchestra Series. Score
and Parts. With Standard
notation. 12 pages. Carl
Fischer Music #FAS26.
Published by Carl Fischer
Music (CF.FAS26).
ISBN
9780825854811. UPC:
798408054816. 8.5 X 11
inches. Key: D
major.
Arches
em> is a piece for the
developing string
orchestra that derives
its title from the
national park in Utah. I
visited the Arches
National Monument in June
of 2003 during a
cross-country trip. The
Delicate Arch is the
recognizable landmark
from this beautiful
national park. In order
to see this remarkable
natural formation up
close, you have to hike a
trail of over two miles.
The music in this piece
is inspired by my journey
to see the arch. Once
there, you are treated to
a vast panoramic view of
the golden Utah landscape
that leaves one
breathless.
Arches is an
effective piece in
teaching
pizzicato
playing as a melodic
device. Most often,
pizzicato is
used as an effect or
punctuation mark to
larger melodic ideas.
There is a brief arco
section to provide
contrast and build up to
the dramatic return of
the main
pizzicato
melody. Each section in
the ensemble has a
statement of the melody.
It is important to think
linearly in addition to
vertically when playing
these pizzicato
lines. Forward motion is
of up-most importance in
terms of making musical
phrases out of these
pizzicato
lines. Arches
is a piece for the
developing string
orchestra that derives
its title from the
national park in Utah. I
visited the Arches
National Monument in June
of 2003 during a
cross-country trip. The
Delicate Arch is the
recognizable landmark
from this beautiful
national park. In order
to see this remarkable
natural formation up
close, you have to hike a
trail of over two miles.
The music in this piece
is inspired by my journey
to see the arch. Once
there, you are treated to
a vast panoramic view of
the golden Utah landscape
that leaves one
breathless.
Arches is an
effective piece in
teachingA
pizzicato
playing as a melodic
device. Most often,A
pizzicato is
used as an effect or
punctuation mark to
larger melodic ideas.
There is a brief arco
section to provide
contrast and build up to
the dramatic return of
the mainA
pizzicato
melody. Each section in
the ensemble has a
statement of the melody.
It is important to think
linearly in addition to
vertically when playing
theseA pizzicato
lines. Forward motion is
of up-most importance in
terms of making musical
phrases out of theseA
pizzicatoA
lines. Arches
is a piece for the
developing string
orchestra that derives
its title from the
national park in Utah. I
visited the Arches
National Monument in June
of 2003 during a
cross-country trip. The
Delicate Arch is the
recognizable landmark
from this beautiful
national park. In order
to see this remarkable
natural formation up
close, you have to hike a
trail of over two miles.
The music in this piece
is inspired by my journey
to see the arch. Once
there, you are treated to
a vast panoramic view of
the golden Utah landscape
that leaves one
breathless.
Arches is an
effective piece in
teachingA
pizzicato
playing as a melodic
device. Most often,A
pizzicato is
used as an effect or
punctuation mark to
larger melodic ideas.
There is a brief arco
section to provide
contrast and build up to
the dramatic return of
the mainA
pizzicato
melody. Each section in
the ensemble has a
statement of the melody.
It is important to think
linearly in addition to
vertically when playing
theseA pizzicato
lines. Forward motion is
of up-most importance in
terms of making musical
phrases out of theseA
pizzicatoA
lines. Arches
is a piece for the
developing string
orchestra that derives
its title from the
national park in Utah. I
visited the Arches
National Monument in June
of 2003 during a
cross-country trip. The
Delicate Arch is the
recognizable landmark
from this beautiful
national park. In order
to see this remarkable
natural formation up
close, you have to hike a
trail of over two miles.
The music in this piece
is inspired by my journey
to see the arch. Once
there, you are treated to
a vast panoramic view of
the golden Utah landscape
that leaves one
breathless.
Arches is an
effective piece in
teaching
pizzicato
playing as a melodic
device. Most often,
pizzicato is
used as an effect or
punctuation mark to
larger melodic ideas.
There is a brief arco
section to provide
contrast and build up to
the dramatic return of
the main
pizzicato
melody. Each section in
the ensemble has a
statement of the melody.
It is important to think
linearly in addition to
vertically when playing
these pizzicato
lines. Forward motion is
of up-most importance in
terms of making musical
phrases out of these
pizzicato
lines. Arches is
a piece for the
developing string
orchestra that derives
its title from the
national park in Utah. I
visited the Arches
National Monument in June
of 2003 during a
cross-country trip. The
Delicate Arch is the
recognizable landmark
from this beautiful
national park. In order
to see this remarkable
natural formation up
close, you have to hike a
trail of over two miles.
The music in this piece
is inspired by my journey
to see the arch. Once
there, you are treated to
a vast panoramic view of
the golden Utah landscape
that leaves one
breathless. Arches is an
effective piece in
teaching pizzicato
playing as a melodic
device. Most often,
pizzicato is used as an
effect or punctuation
mark to larger melodic
ideas. There is a brief
arco section to provide
contrast and build up to
the dramatic return of
the main pizzicato
melody. Each section in
the ensemble has a
statement of the melody.
It is important to think
linearly in addition to
vertically when playing
these pizzicato lines.
Forward motion is of
up-most importance in
terms of making musical
phrases out of these
pizzicato
lines. Arches is a
piece for the developing
string orchestra that
derives its title from
the national park in
Utah. I visited the
Arches National Monument
in June of 2003 during a
cross-country trip. The
Delicate Arch is the
recognizable landmark
from this beautiful
national park. In order
to see this remarkable
natural formation up
close, you have to hike a
trail of over two miles.
The music in this piece
is inspired by my journey
to see the arch. Once
there, you are treated to
a vast panoramic view of
the golden Utah landscape
that leaves one
breathless.Arches is an
effective piece in
teaching pizzicato
playing as a melodic
device. Most
often, pizzicato is
used as an effect or
punctuation mark to
larger melodic ideas.
There is a brief arco
section to provide
contrast and build up to
the dramatic return of
the main pizzicato
melody. Each section in
the ensemble has a
statement of the melody.
It is important to think
linearly in addition to
vertically when playing
these pizzicato lines.
Forward motion is of
up-most importance in
terms of making musical
phrases out of
these pizzicato lin
es.
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.
Composed by Traditional
Holiday Song. Edited by
Amy Rosen. Arranged by
Bud Caputo. SWS FS. Carl
Fischer Young String
Orchestra Series. Score
and Parts. With Standard
notation.
16+2+4+16+10+10+3+10+12
pages. Carl Fischer Music
#YAS15. Published by Carl
Fischer Music (CF.YAS15).
ISBN 9780825851995.
UPC: 798408051990. 8.5 X
11 inches. Key: D
minor.
Lower
strings be sure to
maintain a steady pulse
and dont rush the walking
figure at the opening.
When the melody is
transferred to the lower
strings (pick-up to m. 10
and m. 13), play with a
full sound. Be careful of
the balance and allow the
soloist to dominate in
mm. 121. If the soloist
is comfortable using
third position, play mm.
119 and the first half of
m. 20 one octave higher.
All parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and donat
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1a21. If the soloist
is comfortable using
third position, play mm.
1a19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and don't
rush the walking figure
at the opening. When the
melody is transferred to
the lower strings
(pick-up to m. 10 and m.
13), play with a full
sound. Be careful of the
balance and allow the
soloist to dominate in
mm. 1-21. If the soloist
is comfortable using
third position, play mm.
1-19 and the first half
of m. 20 one octave
higher. All parts should
be in a solid marcato
style in the fast section
(m. 22 to the end). In
m.50, Violin I should
bring out the Hava Nagila
quote equal to the volume
of the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.
String editing by Amy
Rosen. Lower strings
be sure to maintain a
steady pulse and
don’t rush the
walking figure at the
opening. When the melody
is transferred to the
lower strings (pick-up to
m. 10 and m. 13), play
with a full sound. Be
careful of the balance
and allow the soloist to
dominate in mm.
1–21. If the
soloist is comfortable
using third position,
play mm. 1–19 and
the first half of m. 20
one octave higher.All
parts should be in a
solid marcato style in
the fast section (m. 22
to the end). In m.50,
Violin I should bring out
the Hava Nagila quote
equal to the volume of
the rest of the
orchestra. Be sure to
observe all the soft
dynamics to add interest
to the performance.String
editing by Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
By Traditional. Arranged by Bud Caputo. Orchestra. SmartMusic; String Orchestra....(+)
By Traditional. Arranged
by Bud Caputo. Orchestra.
SmartMusic; String
Orchestra. Highland
String Orchestra.
Contemporary; Light
Concert; Novelty;
Spiritual. Grade 2.5.
Conductor Score and
Parts. 128 pages.
Published by Alfred Music
Publishing
Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS34
Full
Score and Parts.
Composed by Sean
O'Loughlin. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
12+16+16+4+10+10+10+4
pages. Carl Fischer Music
#CAS34. Published by Carl
Fischer Music (CF.CAS34).
ISBN 9780825861055.
UPC: 798408061050. 8.5 X
11 inches. Key: E
minor.
Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday-afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walk Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Cliffhanger Orchestre à Cordes - Intermédiaire Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34F Composed b...(+)
Orchestra String
Orchestra - Medium
Easy/Medium
SKU:
CF.CAS34F
Composed by
Sean O'Loughlin. SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #CAS34F. Published
by Carl Fischer Music
(CF.CAS34F).
ISBN
9780825861062. UPC:
798408061067. 8.5 X 11
inches. Key: E
minor.
Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday- afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walt Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians