By Brian Balmages. Beginning String Orchestra. FJH Beginning Strings. This fun-spirited fiddle tune begins with a unison statement of the theme, then gradually expands in harmony until the entire ensemble is into the groove. While the theme develops, the initial pizzicato in the low strings serves as the rhythm section of the group. Other members of the orchestra take over this rhythm section, including violas (and optional violin 3), stomping and clapping as the hoedown begins to roar. As is characteristic of much fiddle music, Hey Fiddle Fiddle! is based mostly on open 4ths and 5ths. These intervals become the focus of the piece at measure 49, where violins and violas trade phrases back and forth with low strings. One final build brings the tune back for a stirring conclusion. Score for this title: ST6120S. Extra part for this title: ST6120P. String Orchestra. Level: 1.5. Score and Set of Parts. Published by The FJH Music Company Inc.

Composed by Susan H. Day. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. 62 pages. Published by Highland/Etling

By Soon Hee Newbold. Beginning String Orchestra. FJH Beginning Strings. Score for this title: ST6109S. Extra part for this title: ST6109P. String Orchestra. Level: 1. Score and Set of Parts. Published by The FJH Music Company Inc.

By Randy Sabien. Music by Randy Sabien. For String Orchestra. String Orchestra. String Alternatives. Jazz. Level: 4 (grade 4). Conductor Score and Parts. Published by Alfred Publishing.

(Vocal Solo or B-Flat Trumpet Solo with String Orchestra (featuring: I Got Rhythm / Fascinating Rhythm / Strike Up the Band)). By George Gershwin and Ira Gershwin. Arranged by Douglas E. Wagner. Orchestra. For string w/ trumpet, voice, pno, drumset). Masterworks; Part(s); Score; String Orchestra. Pop Concert String Orchestra. Form: Medley. Light Concert; Masterwork Arrangement; Pop; Standard. Grade 4. 144 pages. Published by Alfred Music Publishing

(Vocal Solo or B-Flat Trumpet Solo with String Orchestra (featuring: I Got Rhythm / Fascinating Rhythm / Strike Up the Band)). By George Gershwin and Ira Gershwin. Arranged by Douglas E. Wagner. Orchestra. Masterworks; Score; String Orchestra. Pop Concert String Orchestra. Form: Medley. Light Concert; Masterwork Arrangement; Pop; Standard. Grade 4. 32 pages. Published by Alfred Music Publishing

Orchestra String Orchestra - Grade 3

SKU: CF.CAS18

Composed by Douglas Townsend. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS18. Published by Carl Fischer Music (CF.CAS18).

ISBN 9780825855016. UPC: 798408055011. 8.5 X 11 inches. Key: F major.

A truly masterful fantasy on an English folk song, this piece shows the exceptional musical development found in many of the greatest classical symphonies. The fantasy is roughly in the style of the classical rondo (ABACA) and features fine counterpoint and engaging melodies. This piece can be played in an orchestral and quartet setting and is both challenging and fun to play.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
MyA Fantasy on The Wee Cooper of FifeA was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is calledA Rissoldy Rossoldy.A Except for a few notes, the song was almost identical to the English folksongA The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantasy on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends! I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins: There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin.... The tune is rollicking and words are amusing, and yes, eventually they worked out their problems! The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies. This composition may be performed by a string orchestra or solo string quartet. - Douglas Townsend.
My Fantas y on The Wee Cooper of Fife was one of four such fantasies I wrote for my daughter April when she was studying the violin, and I had hopes that when she reached the age of wisdom and proficiency she would play them with her friends. Life being what is it, she eventually gave up the violin and chose a completely different career for herself-though we are still the best of friends!I found the song in a collection of folk songs for children where it is called Rissoldy Rossoldy. Except for a few notes, the song was almost identical to the English folksong The Wee Cooper of Fife, which begins:There was a Wee Cooper named Fife / nickity nackety roo noo roo / He took him to wed a gentle wife / nickity nackety roo noo roo / She would na card she would na spin / for fear 't would harm her gentle skin....The tune is rollicking and words are amusing, and yes, eventually they worked out their problems!The Fantasy is roughly in the style of the classical rondo, which is ABACA coda, such as one finds in the last movements of some of Haydn's later symphonies.This composition may be performed by a string orchestra or solo string quartet.- Douglas Townsend.

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

Arranged by Bert Ligon. For strings with optional rhythm section. Standard strings with optional rhythm section. Kendor Jazz Classics for String Orchestra Series. Grade 4. Score and parts. Duration 3 minutes 55 seconds. Published by Kendor Music Inc

By Marks. Arranged by Erik Morales. String Orchestra. FJH String Orchestra. Full set (score and parts). Score only also available: S. Christmas. Level: Grade 3.5. Score and set of parts. Composed 2003. Published by The FJH Music Company Inc.

Composed by Thom Sharp. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. Form: Rondo. 124 pages. Published by Highland/Etling (AP.44850).

By Loreta Fin. Orchestra. String Orchestra. Wilfin String Orchestra. Grade 2.5. Conductor Score and Parts. 114 pages

By Antonin Dvorak. Arranged by Carrie Lane Gruselle. String Orchestra. FJH String Orchestra. Score for this title: ST6102S. Extra part for this title: ST6102P. Level: 3. Published by The FJH Music Company Inc.

Orchestra String Orchestra - Medium Easy/Medium

SKU: CF.CAS22

Composed by Larry Clark. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS22. Published by Carl Fischer Music (CF.CAS22).

ISBN 9780825858208. UPC: 798408058203. 8.5 X 11 inches. Key: G major.

The fast paced rondo has a Dorian flavored melody with hints of quartel (based on an interval of a fourth) harmony to give it a contemporary sound The players are presented with solo opportunities as well as harmonic turns and twists that will keep them.
Rondo in the Nick of Time was originally the third movement for a woodwind quintet piece that I wrote in 1990. I have always been fond of this little piece and felt that it would adapt well to larger ensembles. I have also scored this piece for band as part of a suite called Upon a New Horizon.The main theme is based on the Dorian Mode. The use of quartal harmony makes up most of the harmonic material. Each statement of the theme is followed by an episode that increases in length each time. There is a sudden change of style and tempo in the middle of the piece, where fragments of the theme are developed. The title is a play-on-words, since the work contains hemiola effects that alter the feel of the time.As with all of my pieces for strings, the bowings are given only as a reference. Feel free to alter them to fit the needs of your students. I have indicated a rather fast tempo for the piece. I really like the piece to fly, but it will work and sound fine at a slower tempo as well. Just endeavor to keep their energy moving forward.It has been my pleasure to have the opportunity to write this piece. I hope that you and your students enjoy it and find it useful in your program.-Larry ClarkLakeland, FL. 2005.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Composed by Susan H. Day. Part(s); Score; String Orchestra. Highland/Etling String Orchestra. Fall; Halloween. 132 pages. Published by Highland/Etling (AP.44841).

By Francis Osentowski. For orchestra. FJH String Orchestra. Grade 4. Score. Composed 2010. Published by The FJH Music Company Inc

As Performed by Bruno Mars. Composed by Bruno Mars, Jeff Bhasker, Philip Lawrence, Devon Gallaspy, Mark Ronson, Nicholaus Williams, Lonnie Simmons, Ronnie Wilson, Charles Wilson, Rudolph Taylor, and Robert Wilson. Arranged by Michael Story. Part(s); Score; String Orchestra. Pop Intermediate String Orchestra. Funk; Pop/Rock. 78 pages. Published by Alfred Music (AP.44859).

By Lauren Bernofsky (1967-). For string orchestra. Orchestra. FJH Beginning Strings. Grade 1. Score and set of parts. Duration 1 minute, 15 seconds. Published by The FJH Music Company Inc

By Martin Norgaard. String Orchestra. FJH String Orchestra. Score for this title: ST6119S. Extra part for this title: ST6119P. Level: 3.5. Published by The FJH Music Company Inc.

By Sean O'Loughlin. For string orchestra. Carl Fischer First Plus String Orchestra Series. Grade 1.5-2. Score and parts. Published by Carl Fischer

Spring from the Four Seasons by Antonio Vivaldi (1678-1741). Arranged by Richard Meyer. Orchestra. Masterworks; String Orchestra. Strictly Strings Series. Form: Overture. Baroque; Masterwork Arrangement; Spring. Grade 1. Conductor Score and Parts. 140 pages. Published by Alfred Music Publishing

The Irish Washerwoman. By Elliot Del Borgo. For String Orchestra. Published by Carl Fischer.

Based On "the Irish Washerwoman" - Full Score. By Elliot Del Borgo. String orchestra. Carl Fischer Performance Series for String Orchestra - Concert String Orchestra, Medium Easy/Medium. Full Score - Large. 16 pages. Published by Carl Fischer.

(From the Opera The Bartered Bride). Composed by Bedrich Smetana (1824-1884). Arranged by Louis Bergonzi. Orchestra. Masterworks; Part(s); Score; String Orchestra. Belwin Concert String Orchestra. Masterwork Arrangement; Romantic. Grade 3.5. 172 pages. Published by Belwin Music

Score and Parts String Orchestra (Score and Parts) - Grade 3-4

SKU: HL.4493124

By Billy Joel. By Billy Joel. Arranged by Larry Moore. Pop Specials for Strings. Classical, Pop. Softcover. Duration 100 seconds. Published by Hal Leonard (HL.4493124).

UPC: 196288203148. 9.0x12.0 inches.

A dazzling fusion of pop and classical! Larry Moore's innovative arrangement of Billy Joel's chart-topping hit, “Turn the Lights Back On,” is a must-have for contemporary string orchestras. With driving rhythms and soaring melodies, this exciting piece features piano and drums for added punch. It is perfect for any performance seeking a fresh and energetic sound!

Orchestra String Orchestra - Grade 3

SKU: CF.CAS7

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.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS57

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Score and Parts. With Standard notation. 16+4+16+10+10+10+4+12 pages. Carl Fischer Music #YAS57. Published by Carl Fischer Music (CF.YAS57).

ISBN 9780825866890. UPC: 798408066895. 8.5 X 11 inches. Key: G major.

This is a sweeping new original composition in a subto Scottish style from popular composer Alan Lee Silva. Just another one of the pieces that always seem to flow effortlessly from his talented pen. This is an excellent piece for any contest or festival.
This Scottish-flavored, uptempo piece in has a lilting, jubilant-feel throughout. Highland Celebration is  built around two rhythmic subdivisions: two groups of three eighth notes per measure and three groups of two eighth notes per measure. Have the ensemble distinguish between the two subdivisions by tapping each one separately. Make an exercise of the rhythm in mm. 1–2 in Violin 1 to facilitate playing the different rhythms precisely: (1 2 3 - 4 5 6) and (1 2 - 3 4 - 5 6). Rehearsing four- to eightmeasure sections under tempo will aid in tightening these rhythms and solidifying pitch.The sections to concentrate on are: mm. 17–24 and mm. 33–40 to make sure that Violins I and II and Cello are playing together; mm. 33–40, to focus on the Violin 1 and Violin 2 unisons and couplings; and mm. 57–62, where the quarter-note subdivisions are emphasized. The piece is book-ended with the introduction material which always begins quietly and builds. The ensemble at m. 79 starts with tutti scalar figures and increases in intensity to the final accented measures at m. 83. Written in AABA form with a double bridge at m. 45, the overall feeling is dance-like and festive.

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

Composed by Loreta Fin. Orchestra. Part(s); Score; String Orchestra. Wilfin String Orchestra: Young String Ensemble Series. Grade 1. 66 pages. Published by Alfred Music