Arranged and Performed by Jerry Willard. Book and CD(s). Published by Music Sale...(+)
Arranged and Performed by
Jerry Willard. Book and
CD(s). Published by Music
Sales. Since their
introduction, Bach's
Two-Part Inventions have
been an essential
resource for developing
hand independence and
ornamentation technique.
Keyboard players have
enjoyed these etudes for
centuries and for the
first time ever this body
of work is available to
guitarists. Presented in
standard music notation
and tablature with two
specially-designed CDs:
Disc One presents Bach's
Inventions arranged for
two guitars with Guitar
One panned left and
Guitar Two panned right,
and Disc Two presents
each Invention performed
by one guitar at a time
(with a count in). This
provides the player with
the opportunity to play
along with the CD track
or study each part
individually. Bach
Inventions for Guitar
Duet is a must for every
guitarist.
Published by Alfred Publishing. / The music lover who has never even held a guit...(+)
Published by Alfred
Publishing. / The music
lover who has never even
held a guitar will begin
playing easy chords and
songs immediately,
focusing on the most
important basics of the
style, from strumming to
playing melody.
The CD demonstrates the
examples in the book and
provides play-along
opportunities. 48 pages.
Published by Alfred Publishing. (22878) The music lover who has never even hel...(+)
Published by Alfred
Publishing. (22878)
The music lover who has
never even held a guitar
will begin playing easy
chords and songs
immediately, focusing on
the most important basics
of the style, from
strumming to playing
melody.
The CD demonstrates the
examples in the book and
provides play-along
opportunities. 48
pages.
Chamber Music Cello SKU: CF.BF120 29 Duets That Can Be Played by Any C...(+)
Chamber Music Cello
SKU: CF.BF120
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF120. Published
by Carl Fischer Music
(CF.BF120).
ISBN
9781491149836. UPC:
680160907335. 9 x 12
inches.
Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come.
Chamber Music Bassoon, Euphonium, Trombone SKU: CF.WF218 29 Duets That...(+)
Chamber Music Bassoon,
Euphonium, Trombone
SKU: CF.WF218
29 Duets That can Be
Played by Any Combination
of Wind Instruments.
Composed by
Adolphe-Charles Adam,
Chauncey Olcott, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Henry Purcell, Hughie
Cannon, Larry Clark,
Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Larry Clark. SWS.
Collection. With Standard
notation. 48 pages. Carl
Fischer Music #WF218.
Published by Carl Fischer
Music (CF.WF218).
ISBN
9781491149188. UPC:
680160906680. 9 x 12
inches.
Continuing
with the success of the
popular Compatible
series, Compatible Duets
for Winds Volume 2
contains 29 duets in a
variety of styles that
can be played with any
combination of two wind
instruments. Students can
develop their
chamber-ensemble skills
while playing with their
friends, no matter what
wind instruments they
play. Ranging from grade
levels 2-3, Compatible
Duets for Winds Volume 2
is perfect for band
directors looking for new
tools for the classroom,
and its flexibility makes
it a must-have for any
wind player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options, since all ofthe
books in this series are
compatible. As a former
middle-school band
director I alwayshad
students that wanted to
come to the band room
during lunch or after
school; studentswho just
wanted to play with their
friends. That was not
possible since there was
very littleduet material
available that was
compatible with all of
the wind instruments.
This bookand the first
volume in the series take
care of that. A student
can now grab their
friend,no matter what
instrument they play, and
have hours of fun playing
duets together.
Mostimportantly, they
will learn something in
the process.The duets
have been generally
placed in the book in
order of difficulty and
cover a rangeof keys that
are appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems, and the
point size of the music
wasconsidered for ease of
reading.It is my hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.I hope it is a
useful tool for you for
years to come.
Chamber Music Tuba SKU: CF.WF219 29 Duets That can Be Played by Any Co...(+)
Chamber Music Tuba
SKU: CF.WF219
29 Duets That can Be
Played by Any Combination
of Wind Instruments.
Composed by
Adolphe-Charles Adam,
Chauncey Olcott, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Henry Purcell, Hughie
Cannon, Larry Clark,
Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Larry Clark. SWS.
Collection. With Standard
notation. 48 pages. Carl
Fischer Music #WF219.
Published by Carl Fischer
Music (CF.WF219).
ISBN
9781491149195. UPC:
680160906697. 9 x 12
inches.
Continuing
with the success of the
popular Compatible
series, Compatible Duets
for Winds Volume 2
contains 29 duets in a
variety of styles that
can be played with any
combination of two wind
instruments. Students can
develop their
chamber-ensemble skills
while playing with their
friends, no matter what
wind instruments they
play. Ranging from grade
levels 2-3, Compatible
Duets for Winds Volume 2
is perfect for band
directors looking for new
tools for the classroom,
and its flexibility makes
it a must-have for any
wind player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options, since all ofthe
books in this series are
compatible. As a former
middle-school band
director I alwayshad
students that wanted to
come to the band room
during lunch or after
school; studentswho just
wanted to play with their
friends. That was not
possible since there was
very littleduet material
available that was
compatible with all of
the wind instruments.
This bookand the first
volume in the series take
care of that. A student
can now grab their
friend,no matter what
instrument they play, and
have hours of fun playing
duets together.
Mostimportantly, they
will learn something in
the process.The duets
have been generally
placed in the book in
order of difficulty and
cover a rangeof keys that
are appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems, and the
point size of the music
wasconsidered for ease of
reading.It is my hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.I hope it is a
useful tool for you for
years to come.
Chamber Music Double Bass SKU: CF.BF121 29 Duets That Can Be Played by...(+)
Chamber Music Double Bass
SKU: CF.BF121
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF121. Published
by Carl Fischer Music
(CF.BF121).
ISBN
9781491149843. UPC:
680160907342. 9 x 12
inches.
Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come.
Chamber Music viola SKU: CF.BF119 29 Duets That Can Be Played by Any C...(+)
Chamber Music viola
SKU: CF.BF119
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF119. Published
by Carl Fischer Music
(CF.BF119).
ISBN
9781491149829. UPC:
680160907328. 9 x 12
inches.
Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come.
Chamber Music Violin SKU: CF.BF118 29 Duets That Can Be Played by Any ...(+)
Chamber Music Violin
SKU: CF.BF118
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF118. Published
by Carl Fischer Music
(CF.BF118).
ISBN
9781491149812. UPC:
680160907311. 9 x 12
inches.
Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come.
Chamber Music alto Saxophone, baritone Saxophone SKU: CF.WF216 29 Duet...(+)
Chamber Music alto
Saxophone, baritone
Saxophone
SKU:
CF.WF216
29 Duets
That Can Be Played by Any
Combination of Wind
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Henry Purcell, Hughie
Cannon, Larry Clark,
Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Larry Clark. SWS.
Collection. With Standard
notation. 48 pages. Carl
Fischer Music #WF216.
Published by Carl Fischer
Music (CF.WF216).
ISBN
9781491149164. UPC:
680160906666. 9 x 12
inches.
Continuing
with the success of the
popular Compatible
series, Compatible Duets
for Winds Volume 2
contains 29 duets in a
variety of styles that
can be played with any
combination of two wind
instruments. Students can
develop their
chamber-ensemble skills
while playing with their
friends, no matter what
wind instruments they
play. Ranging from grade
levels 2-3, Compatible
Duets for Winds Volume 2
is perfect for band
directors looking for new
tools for the classroom,
and its flexibility makes
it a must-have for any
wind player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options, since all ofthe
books in this series are
compatible. As a former
middle-school band
director I alwayshad
students that wanted to
come to the band room
during lunch or after
school; studentswho just
wanted to play with their
friends. That was not
possible since there was
very littleduet material
available that was
compatible with all of
the wind instruments.
This bookand the first
volume in the series take
care of that. A student
can now grab their
friend,no matter what
instrument they play, and
have hours of fun playing
duets together.
Mostimportantly, they
will learn something in
the process.The duets
have been generally
placed in the book in
order of difficulty and
cover a rangeof keys that
are appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems, and the
point size of the music
wasconsidered for ease of
reading.It is my hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.I hope it is a
useful tool for you for
years to come.
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .
Composed
by Travis Weller. Yps.
Full score. 24 pages.
Duration 2 minutes, 18
seconds. Carl Fischer
Music #YPS252F. Published
by Carl Fischer Music
(CF.YPS252F).
ISBN
9781491161913. UPC:
680160920594.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .
Composed by Alan Lee
Silva. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS184F.
Published by Carl Fischer
Music (CF.YAS184F).
ISBN 9781491151860.
UPC: 680160909360. 9 x 12
inches.
Alan Lee
Silva's Northwestern
Skies?is lyrical and
fresh,? with his
signature open and
expressive style. Young
string orchestras will
sound rich and full with
this sweeping
composition.
From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
;
From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
;
From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
;
From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
; From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33. The
lower strings carry the C
theme in m. 49, supported
by tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda
section at m. 65 begins
with a variation of the B
melody in the violas and
then the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. Â From
the opening fanfare to
the final ensemble
gesture, Northwestern
Skies is an engaging
musical journey with
expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody.
More instrtuments
are added to the
melody in m. 25, building
to the return of the A
theme in m. 33.The lower
strings carry the C
theme in m. 49, supported
by tutti figures in
the upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The
moving legatolines at
m. 59 and the aggressive
figures at m. 61 propel
the piece to its final
build.The Coda section at
m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Pian...(+)
Orchestra Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano -
Grade 0.5
SKU:
CF.PAS22
Composed by
Larry Clark. Primer
String Orchestra. Set of
Score and Parts. With
Standard notation.
8+2+5+5+5+3+8+8 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #PAS22. Published
by Carl Fischer Music
(CF.PAS22).
ISBN
9781491151204. UPC:
680160908707. 9 x 12
inches. Key: D
major.
Written for
beginning string
students, Larry Clark's
Contemplation?contains
basic compositional
techniques that students
will be able to identify
and learn from. It begins
with a rich, melodic
opening which highlights
students' musicianship.
This is then contrasted
by the frolicking,
uptempo section, which is
a variation on the
original musical
material.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
Larry
Clark
Lakeland, FL
2018
.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark
Lakeland, FL
2018
.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark
Lakeland, FL
2018
.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
--Larry
Clark
Lakeland, FL
2018
. Conte
mplation: the action to
look thoughtfully at
something for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner. To
me this is the essence of
music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as possible
they should be asked to
put themselves into the
music and make it more
than the notes and
rhythms on the page. This
piece is my attempt to
provide very young
students who are just
beginning their musical
journey with something
they can reach
technically, but have to
stretch for musically.
The notes and rhythms are
limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement. After a
short introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of my
pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students. It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your program. --Larry
Clark Lakeland, FL
2018. Contemplation:
the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner.Â
To me this is the essence
of music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes
and rhythms are limited,
but students should
strive for beauty of
tone, good phrasing and
emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.It has been
my pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018.
Composed by Larry Clark.
Primer String Orchestra
(PAS). Full score. With
Standard notation. 8
pages. Carl Fischer Music
#PAS22F. Published by
Carl Fischer Music
(CF.PAS22F).
ISBN
9781491151570. UPC:
680160909070. 9 x 12
inches.
Written for
beginning string
students, Larry Clark's
Contemplation?contains
basic compositional
techniques that students
will be able to identify
and learn from. It begins
with a rich, melodic
opening which highlights
students' musicianship.
This is then contrasted
by the frolicking,
uptempo section, which is
a variation on the
original musical
material.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
Larry
Clark
Lakeland, FL
2018
.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark
Lakeland, FL
2018
.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.A To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.A As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.A The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.A The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.A As with all
of my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
aLarry
Clark
Lakeland, FL
2018
.
Contemplation:
the action to look
thoughtfully at something
for a long
time.
When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative
manner.To me this is
the essence of music:
playing in an emotional
and thoughtful way. It is
something that cannot be
stressed enough, even in
students that have just
begun to play.As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.
This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically.The notes and
rhythms are limited, but
students should strive
for beauty of tone, good
phrasing and emotional
involvement.
After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns.The piece can
serve to show students
that the same basic music
can have an entirely
different emotional
connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature.As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.
It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your program.
--Larry
Clark
Lakeland, FL
2018
. Conte
mplation: the action to
look thoughtfully at
something for a long
time. When composing
music that will be used
with younger students, I
want to stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner. To
me this is the essence of
music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as possible
they should be asked to
put themselves into the
music and make it more
than the notes and
rhythms on the page. This
piece is my attempt to
provide very young
students who are just
beginning their musical
journey with something
they can reach
technically, but have to
stretch for musically.
The notes and rhythms are
limited, but students
should strive for beauty
of tone, good phrasing
and emotional
involvement. After a
short introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of my
pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students. It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your program. --Larry
Clark Lakeland, FL
2018. Contemplation:
the action to look
thoughtfully at something
for a long time.When
composing music that will
be used with younger
students, I want to
stimulate in them
thoughtfulness. In this
particular piece I want
the students to be be
able to stretch their
musicianship beyond their
experience on their
instruments to play in a
contemplative manner.Â
To me this is the essence
of music: playing in an
emotional and thoughtful
way. It is something that
cannot be stressed
enough, even in students
that have just begun to
play. As soon as
possible they should be
asked to put themselves
into the music and make
it more than the notes
and rhythms on the
page.This piece is my
attempt to provide very
young students who are
just beginning their
musical journey with
something they can reach
technically, but have to
stretch for
musically. The notes
and rhythms are limited,
but students should
strive for beauty of
tone, good phrasing and
emotional
involvement.After a short
introduction, the
heartfelt main theme
begins at a lyrical and
slow tempo. This is
developed with the
addition of a secondary
theme featuring the lower
voices, before the piece
leads to an Allegro
section that is based on
the same musical material
with a difference in
tempo and a variation in
rhythm patterns. The
piece can serve to show
students that the same
basic music can have an
entirely different
emotional connection with
difference in tempo,
rhythm and style, with
the first section of the
piece being sentimental
and the faster section
being more joyous in
nature. As with all of
my pieces for younger
students, it is
completely acceptable to
adjust the tempo to fit
the educational needs of
your students.It has been
my pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018.
Composed by Alan Lee
Silva. Young String
Orchestra (YAS). Set of
Score and Parts. With
Standard notation.
8+8+2+5+5+5+3+8 pages.
Carl Fischer Music
#YAS184. Published by
Carl Fischer Music
(CF.YAS184).
ISBN
9781491151495. UPC:
680160908998. 9 x 12
inches. Key: G
major.
Alan Lee
Silva's Northwestern
Skies?is lyrical and
fresh,? with his
signature open and
expressive style. Young
string orchestras will
sound rich and full with
this sweeping
composition.
From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
;
From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
;
From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
;
From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build.
The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
.  
; From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33. The
lower strings carry the C
theme in m. 49, supported
by tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda
section at m. 65 begins
with a variation of the B
melody in the violas and
then the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. Â From
the opening fanfare to
the final ensemble
gesture, Northwestern
Skies is an engaging
musical journey with
expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody.
More instrtuments
are added to the
melody in m. 25, building
to the return of the A
theme in m. 33.The lower
strings carry the C
theme in m. 49, supported
by tutti figures in
the upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The
moving legatolines at
m. 59 and the aggressive
figures at m. 61 propel
the piece to its final
build.The Coda section at
m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
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
Paint Me Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9585 Composed by Debra Morton. Fold. Pe...(+)
Choral SSA choir, piano
SKU: CF.CM9585
Composed by Debra Morton.
Fold. Performance Score.
12 pages. Duration 2
minutes, 59 seconds. Carl
Fischer Music #CM9585.
Published by Carl Fischer
Music (CF.CM9585).
ISBN 9781491154076.
UPC: 680160912575. 6.875
x 10.5 inches. Key: G
major. English.
Original.
Good
friends see the best in
us. They tend to downplay
our faults while
applauding our strengths.
In short, they encourage
us to be the best we can
be, maybe even a little
more. The text of
Paint Me was
born out of the desire to
be that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me
to music, I tried to let
the cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so dont
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint
MeA was born out of
the desire to be that
person my best friend
thinks I am. To Mary Jo,
my sister and best
friend. May I really be
that person you see and
love. In setting the text
of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so donat
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
apainta the words, as
well as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me
was born out of the
desire to be that person
my best friend thinks I
am. To Mary Jo, my sister
and best friend. May I
really be that person you
see and love. In setting
the text of Paint
Me to music, I tried
to let the cadence of the
words dictate the rhythm
of the music. Use rubato,
word stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was born
out of the desire to be
that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was
born out of the desire to
be that person my best
friend thinks I am.To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love.In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so
don’t be afraid to
let the interior part of
a phrase move along,
while relaxing the
beginning and ending. I
would recommend a
straight tone as opposed
to vibrato for the held
notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
“paint†the
words, as well as making
every idea
understood.Enjoy adding
the color and shading to
make this piece of art
your own.
Elephant Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS127 Composed by Peter Sciaino. Fol...(+)
Band concert band - Grade
1
SKU: CF.BPS127
Composed by Peter
Sciaino. Folio. Bps. Set
of Score and Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+2+12 pages. Duration
2 minutes, 39 seconds.
Carl Fischer Music
#BPS127. Published by
Carl Fischer Music
(CF.BPS127).
ISBN
9781491156209. UPC:
680160914746. 9 x 12
inches.
Program
Notes Elephant is, of
course, inspired by the
incredible mammals of the
same name. Their
column-like legs, long
trunks, and massive
presence will never cease
to amaze; however, it's
their trumpeting that
makes them stand out as
the instrumentalists of
the animal kingdom! In
this selection, an
elephant's slow gate and
general demeanor are
represented by a
methodical tempo and
lumbering texture.
Woodwinds will enjoy the
opportunity to perform
grace notes while
Elephant also offers
exposure to flams for
young percussionists.
At m. 33 the
trumpets and horns
recreate an elephant call
after slipping brown
paper bags, or lunch-bag
mutes, over their bells
(in their bells for horn
players). For the trumpet
players, the mutes can be
enhanced with an
additional balled-up
piece of paper placed at
the bottom of the bag
prior to slipping it over
the bell. Horns should
ball up the bag itself
and experiment with
placement to create the
most realistic tones
without stopping the
instrument. While
specific pitches are
noted, making the best
elephant sounds should
prioritized. Young
students always look
forward to experimenting
with mutes, and this
selection offers an
inexpensive and creative
way to do so at a young
age. Note to the
Conductor This piece can
be used to introduce or
reinforce the finer
points of staccato
playing. While many
students know to play
these notes short in
length, they may need
reminding that they
should also be played
lightly. This also may
allow for opportunities
in emphasizing
contrasting articulation
styles that are in this
piece. Younger students
will likely need a
reasonable amount of
practice in successfully
using the lunch-bag
mutes. Allowing
additional rehearsal time
for this is
recommended. Program
Notes Elephant is, of
course, inspired by the
incredible mammals of the
same name. Their
column-like legs, long
trunks, and massive
presence will never cease
to amaze; however, it's
their trumpeting that
makes them stand out as
the instrumentalists of
the animal kingdom! In
this selection, an
elephant's slow gait and
general demeanor are
represented by a
methodical tempo and
lumbering texture.
Woodwinds will enjoy the
opportunity to perform
grace notes while
Elephant also offers
exposure to flams for
young percussionists.
At m. 33 the
trumpets and horns
recreate an elephant call
after slipping brown
paper bags, or lunch-bag
mutes, over their bells
(in their bells for horn
players). For the trumpet
players, the mutes can be
enhanced with an
additional balled-up
piece of paper placed at
the bottom of the bag
prior to slipping it over
the bell. Horns should
ball up the bag itself
and experiment with
placement to create the
most realistic tones
without stopping the
instrument. While
specific pitches are
noted, making the best
elephant sounds should
prioritized. Young
students always look
forward to experimenting
with mutes, and this
selection offers an
inexpensive and creative
way to do so at a young
age. Note to the
Conductor This piece can
be used to introduce or
reinforce the finer
points of staccato
playing. While many
students know to play
these notes short in
length, they may need
reminding that they
should also be played
lightly. This also may
allow for opportunities
in emphasizing
contrasting articulation
styles that are in this
piece. Younger students
will likely need a
reasonable amount of
practice in successfully
using the lunch-bag
mutes. Allowing
additional rehearsal time
for this is
recommended. Program
NotesElephant is, of
course, inspired by the
incredible mammals of the
same name. Their
column-like legs, long
trunks, and massive
presence will never cease
to amaze; however,
it’s their
trumpeting that makes
them stand out as the
instrumentalists of the
animal kingdom! In this
selection, an
elephant’s slow
gait and general demeanor
are represented by a
methodical tempo and
lumbering texture.
Woodwinds will enjoy the
opportunity to perform
grace notes while
Elephant also offers
exposure to flams for
young
percussionists. At m.
33 the trumpets and horns
recreate an elephant call
after slipping brown
paper bags, or
“lunch-bag
mutes,†over their
bells (in their bells for
horn players). For the
trumpet players, the
mutes can be enhanced
with an additional
balled-up piece of paper
placed at the bottom of
the bag prior to slipping
it over the bell. Horns
should ball up the bag
itself and experiment
with placement to create
the most realistic tones
without stopping the
instrument. While
specific pitches are
noted, making the best
elephant sounds should
prioritized. Young
students always look
forward to experimenting
with mutes, and this
selection offers an
inexpensive and creative
way to do so at a young
age.Note to the
ConductorThis piece can
be used to introduce or
reinforce the finer
points of staccato
playing. While many
students know to play
these notes short in
length, they may need
reminding that they
should also be played
lightly. This also may
allow for opportunities
in emphasizing
contrasting articulation
styles that are in this
piece.Younger students
will likely need a
reasonable amount of
practice in successfully
using the
“lunch-bag
mutes.†Allowing
additional rehearsal time
for this is
recommended.
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Band concert band - Grade 1 SKU: CF.BPS135 March. Composed by Jose...(+)
Band concert band - Grade
1
SKU: CF.BPS135
March. Composed by
Joseph Compello. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+1+12 pages. Duration
1 minute, 56 seconds.
Carl Fischer Music
#BPS135. Published by
Carl Fischer Music
(CF.BPS135).
ISBN
9781491158074. UPC:
680160916672. 9 x 12
inches.
Cuckoo for
Quarter Notes is intended
for first-year band
students. The pun on the
familiar phrase Cuckoo
for Cocoa Puffs will
convey the lighthearted
nature of the music. The
familiar cuckoo bird call
consisting of a
descending third is the
basis for the melodies.
The percussion interludes
are intended to give
young wind players an
opportunity to rest.
These interludes may be
omitted or repeated as
the director sees fit.
Additionally, directors
may wish to add eighth
notes to the percussion
interludes. Eighth notes
have not been included in
order to keep the meaning
of the title intact. At
m. 47 students will have
an excellent opportunity
to begin the study of
dynamics. Thank you for
choosing this
composition. Joseph
Compello. Cuckoo for
Quarter Notes is intended
for first-year band
students. The pun on the
familiar phrase Cuckoo
for Cocoa Puffs will
convey the lighthearted
nature of the music. The
familiar cuckoo bird call
consisting  of a
descending third is the
basis for the melodies.
The percussion interludes
are intended to give
young wind players an
opportunity to rest.
These interludes may be
omitted or repeated as
the director sees fit.
Additionally, directors
may wish to add eighth
notes to the percussion
interludes. Eighth notes
have not been included in
order to keep the meaning
of the title intact. At
m. 47 students will have
an excellent opportunity
to begin the study of
dynamics.Thank you for
choosing this
composition.Joseph
Compello.
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Arranged
by Larry Clark. For bass.
Part book (softcover).
Published by Carl Fischer
Christmas Time is
Here. Composed by
Finnish Carol. Arranged
by Daniel Miner. 12
pages. Duration 3
minutes, 20 seconds. Carl
Fischer Music #CM9720.
Published by Carl Fischer
Music (CF.CM9720).
ISBN 9781491160992.
UPC: 680160919598. Key: E
minor. Finnish, English.
Finnish Carol with
additional words by Dan
Miner.
Accompanied
by piano and oboe, this
traditional carol offers
treble choirs an
opportunity to explore
the beauty of traditional
Finnish music. This
arrangement offers each
voice part the
opportunity to lead as
well as harmonize the
melody throughout the
verses. Care should be
taken to ensure the
melody is properly
balanced through the
harmonization in each
verse. Tenutos are marked
throughout to help choirs
discover the simplistic
beauty of this carol.
Marked pitches should be
stressed, but not
accented. To further aid
in the flow of the
melodic line, I suggest a
slight crescendo in each
measure from beat 4 over
the bar-line into beat 1
(as in m. 16-17) unless
otherwise marked. An
English paraphrase is
offered in addition to
the original Finnish text
to make this song
accessible to choirs of
all abilities. It is my
sincere hope that through
this arrangement, choirs
and audiences will fall
in love with this
simplistically beautiful
carol! Finnish
Pronunciation Guide
Finnish is written
phonetically with every
letter sounding. This
includes both vowels in a
diphthong. Consonants
sound as English
consonants. Phonetic
Vowel/IPA Pronunciations
a = ah / [a] e = ey / [e]
i = eeh / [i] o = oh /
[o] u = ooh / [u] j is
pronounced as an English
y y is pronounced as a
German u a is pronounced
as in the English word
that with a mix of eh
sound There is a
recording of the Finnish
pronunciation by the
arranger which can be
found at
www.carlfischer.com/cm972
0 About the arranger
Dan Miner is an
Assistant Choir Director
at Atascocita High School
in the metropolitan area
of Houston, TX and has
taught choral music at
both the junior high and
high school levels in
both Arizona and Texas.
He holds degrees in music
education and piano
performance from Michigan
State University. In
addition to composing,
outside of the classroom
Dan is an active
accompanist for
community, school,
sacred, and TMEA Region
choirs. He also serves as
Organist/Music Associate
at Clear Lake United
Methodist
Church. Accompanied by
piano and oboe, this
traditional carol offers
treble choirs an
opportunity to explore
the beauty of traditional
Finnish music. This
arrangement offers each
voice part the
opportunity to lead as
well as harmonize the
melody throughout the
verses. Care should be
taken to ensure the
melody is properly
balanced through the
harmonization in each
verse.Tenutos are marked
throughout to help choirs
discover the simplistic
beauty of this carol.
Marked pitches should be
stressed, but not
accented. To further aid
in the flow of the
melodic line, I suggest a
slight crescendo in each
measure from beat 4 over
the bar-line into beat 1
(as in m. 16-17) unless
otherwise marked.An
English paraphrase is
offered in addition to
the original Finnish text
to make this song
accessible to choirs of
all abilities.It is my
sincere hope that through
this arrangement, choirs
and audiences will fall
in love with this
simplistically beautiful
carol!Finnish
Pronunciation
GuideFinnish is written
phonetically with every
letter sounding. This
includes both vowels in a
diphthong. Consonants
sound as English
consonants.Phonetic
Vowel/IPA Pronunciationsa
= ah / [a]e = ey / [e]i =
eeh / [i]o = oh / [o]u =
ooh / [u]j is pronounced
as an English yy is
pronounced as a German
üä is pronounced as
in the English word
“that†with a
mix of “ehâ€
soundThere is a recording
of the Finnish
pronunciation by the
arranger which can be
found at
www.carlfischer.com/cm972
0About the
arranger Dan Miner is
an Assistant Choir
Director at Atascocita
High School in the
metropolitan area of
Houston, TX and has
taught choral music at
both the junior high and
high school levels in
both Arizona and Texas.
He holds degrees in music
education and piano
performance from Michigan
State University.In
addition to composing,
outside of the classroom
Dan is an active
accompanist for
community, school,
sacred, and TMEA Region
choirs. He also serves as
Organist/Music Associate
at Clear Lake United
Methodist Church.
Integrity Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS27 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS27
Composed by Larry Clark.
Carl Fischer First Plus
String Orchestra Series.
Score and Parts. With
Standard notation.
8+8+5+5+5+2+8 pages. Carl
Fischer Music #FAS27.
Published by Carl Fischer
Music (CF.FAS27).
ISBN
9780825854835. UPC:
798408054830. 8.5 X 11
inches. Key: D
major.
The title
depicts the uplifting
nature of the piece that
inspires young players to
have confidence and
respect while living with
character and integrity.
The music is
characterized by strong
melodic intervals of
fourths and fifths and
dynamic contrasts, a
Larry Clark signature
that has made his music
so popular. In addition,
every player is an
important part of the
music. This is a perfect
showpiece for developing
groups for concerts or
festivals. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these values.
Integrity is one
such piece. I hope you
will find the main theme
to be uplifting and with
musical integrity, but
within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again. The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.
It has been my pleasure
to have the opportunity
to write this piece. I
hope that you and your
students find it useful
for your program. LARRY
CLARK Lakeland, Florida
2004. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these values.A
Integrity is one
such piece. I hope you
will find the main theme
to be uplifting and with
musical integrity, but
within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again. The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.
It has been my pleasure
to have the opportunity
to write this piece. I
hope that you and your
students find it useful
for your program. LARRY
CLARK Lakeland, Florida
2004. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these values. Integrity
is one such piece. I hope
you will find the main
theme to be uplifting and
with musical integrity,
but within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again. The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.
It has been my pleasure
to have the opportunity
to write this piece. I
hope that you and your
students find it useful
for your program. LARRY
CLARK Lakeland, Florida
2004. As a former
teacher I always tried to
use the experience of
playing in an ensemble to
teach students about
being good people first b
having confidence, being
respectful, living with
character and integrity.
I choose to write music
with titles that will
stimulate students to
strive for this high
standard and I have tried
to write pieces that will
somehow musically depict
these
values. Integrity is
one such piece.I hope you
will find the main theme
to be uplifting and with
musical integrity, but
within the reach of
developing students. My
themes usually are
characterized by strong
melodic intervals of
fourths and fifths and
this piece is no
exception. It is also my
goal when writing music
for younger students to
provide every section in
the ensemble a chance to
play important melodic
material at some point in
the piece. In my humble
opinion, if students are
given music they like to
play they will want to
practice it over and over
again.The tempo markings
and bowings indicated are
only there as a guide and
should be adjusted to the
needs of your students.It
has been my pleasure to
have the opportunity to
write this piece. I hope
that you and your
students find it useful
for your program.LARRY
CLARKLakeland, Florida
2004.
Composed by Travis
Weller. Sws. Cps. Full
score. 32 pages. Duration
3 minutes, 10 seconds.
Carl Fischer Music
#CPS234F. Published by
Carl Fischer Music
(CF.CPS234F).
ISBN
9781491156353. UPC:
680160914890. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Composed by Richard
Summers. Bps. Full score.
16 pages. Duration 2:15.
Carl Fischer Music
#BPS145F. Published by
Carl Fischer Music
(CF.BPS145F).
ISBN
9781491161647. UPC:
680160920327.
Datin
g back to the 13th
century, the clock tower
was located in the center
of a town and used by
townspeople to hear the
time through bells and
chimes ringing out. There
are clock towers all over
the world and they are
wonderful landmarks to
towns and communities.
This work begins and ends
with the Westminster
Chimes theme, which is
used by many clocks and
clock towers, including
Big Ben, the famous clock
tower in London. Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. Dating back to
the 13th century, the
clock tower was located
in the center of a town
and used by townspeople
to hear the time through
bells and chimes ringing
out. There are clock
towers all over the world
and they are wonderful
landmarks to towns and
communities. This work
begins and ends with the
Westminster Chimes theme,
which is used by many
clocks and clock towers,
including Big Ben, the
famous clock tower in
London.  Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. .
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Edited by
Doris Gazda. Arranged by
Larry Clark. For viola.
Compatible Duets for
Strings. Part book
(softcover). 48 pages.
Published by Carl Fischer
Chamber Music Cello, Recording, Viola, Violin SKU: CF.BE10F For String...(+)
Chamber Music Cello,
Recording, Viola, Violin
SKU: CF.BE10F
For String Trio and
Recording. Composed
by Paul Lansky. Full
score. With Standard
notation. 32 pages.
Duration 19:37. Carl
Fischer Music #BE10F.
Published by Carl Fischer
Music (CF.BE10F).
ISBN
9780825891175. UPC:
798408091170. 8.5 x 11
inches. Key: G
major.
Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violins D string
tuned 294 hertz. The
first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violinas D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and acello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violin's D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and 'cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for SpeculumMusicae in
1981.The first movement,
In Preparation, is a
study in tuning and
intonation and isbased on
the open strings in
perfectly tuned fifths,
with the violin’s
D stringtuned 294 hertz.
The first moments of the
piece provide opportunity
to tuneto the tape part.
(This tuning probably
differs imperceptibly
from a temperedtuning
since the E string of the
violin is only 1/33 of a
semitone sharper then ina
tempered system and the C
strings of the viola and
‘cello 1/33 of a
semitoneflatter.) Most
subsequent pitches in the
movement are either the
open stringsor major and
minor thirds above and
below the open strings.
The minor thirdswill be
slightly sharp with
respect to equal tempered
tuning about 15 cents
or1/6 of a semitone and
the major thirds will be
slightly flat about 14
cents, or oneseventh of a
semitone. Listen to the
tape part as a guide. All
harmonics in thismovement
are to be played as
natural harmonics and
open strings are to be
usedwhenever possible.In
the second movement, At a
Distance, the tape part
largely doubles
selectedpitches in the
string parts and should
be thought of as a
backdrop rather
thencounterpart. In this
and the remaining
movements equal tempered
tuning is usedthough it
will probably not be
necessary to retune the
instruments for this
reasonalone.The third
movement, In Practice, is
a study in modes of
performance
particularlywith respect
to rhythmic rigidity and
flexibility. While the
tape part may seemto bend
and sway a great deal,
the string parts are to
be played with as
muchrhythmic precision as
possible. At many points
it may be necessary to
delay oranticipate beats
in order to coincide with
the arrival of beats in
the tape part,though in
general the quarter
equals 120 is accurate.In
the fourth movement, In
Distinction, different
kinds of musical
conceptions
arecounter-pointed and
counter-posed. Here the
beat is quite accurate
although thenotation of
the synthetic saxophone
part is only
approximate.All the tape
parts are based on
computer reprocessed
violin except for parts
ofthe fourth movement in
which synthetic saxophone
is used. The tape part
wassynthesized on the IBM
3033 and 3081 computers
at Princeton University
andconverted at the
Winham Laboratory. The
violin source was
performed by
CyrusStevens.