Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS179

Composed by Bud Woodruff. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+5+2+5+5+3+12 pages. Duration 2 minutes, 18 seconds. Carl Fischer Music #YAS179. Published by Carl Fischer Music (CF.YAS179).

ISBN 9781491151440. UPC: 680160908943. 9 x 12 inches. Key: C major.

Bud Woodruff presents The Cat Is in the Kitchen, a tongue-in-cheek style piece with jazz influences that students enjoy playing. This quirky piece is designed to help students successfully navigate playing F-naturals and B-flats. Bud Woodruff draws on his lengthy career as a string educator to help students overcome the challenges in this piece.

I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.

I wrote The Cat Is in the KitchenA for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

A One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

A My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.

I wrote The Cat Is in the KitchenA for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

A One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

A My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.

I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished!

One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved.

My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

.
I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished! One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved. My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.
I wrote The Cat Is in the Kitchen for a group of very talented young players who, for some reason, did not like Bb's, and particularly Bb's on the G string ... especially the cellos (who always faithfully played them as B naturals). They bore no great love for F naturals, either. So this piece is full of both. Since the students liked the sound of the piece, they overcame their dislikes, and all was just fine in the end ... mission accomplished! One will find that changing the bowings will change the accents, too, and the flavor of the piece will be lost. Without a doubt, there is a jazz influence, and the piece will be easier to teach if you approach it from that angle. Have the class work on m. 18 until everyone can play it ease. Then add m. 19 for the upper strings, and 90% of any issues the bowings may present will be solved. My kids loved playing this piece, and the audience enjoyed hearing it. I trust you will have the same results.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Composed by Andrea Ramsey. For SSA choir, piano. Octavo. 12 pages. Duration 3 minutes, 18 seconds. Published by Carl Fischer

Choral SSA choir, piano

SKU: CF.CM9773

Composed by Brady Weldon. Duration 2 minutes, 49 seconds. Carl Fischer Music #CM9773. Published by Carl Fischer Music (CF.CM9773).

ISBN 9781491164440. UPC: 680160923342. Key: C# minor. English. Christina Rossetti.

In the bleak midwinter, frosty wind made moan,                                                       Earth stood hard as iron, water like a stone;                                                               Snow had fallen, snow on snow, snow on snow,                                                             In the bleak midwinter, long ago.What can I give Him, poor as I am?                                                                                        If I were a shepherd, I would bring a lamb;                                                                         If I were a Wise Man, I would do my part;                                                                        Yet what I can I give Him: give my heart.The text from this beloved poem of Christina Rossetti (1830–1894) was originally published in an 1872 issue of Scribner’s Monthly, under the title A Christmas Carol. In the first of its five stanzas, the speaker describes in great detail a bitingly cold winter scene, void of both warmth and light. By the final stanza, the speaker's thoughts turn inward, asking what gift they may offer the infant Jesus, meek though they believe themselves to be.The poem was later set by English composer Gustav Holst (1874–1934) as a contribution to the English Hymnal in 1906 and remains the most popular setting today.London-born Rossetti came to be regarded not only as one of the greatest female poets of her time, but as an outspoken advocate on several societal issues, including slavery and cruelty towards animals.In this setting, word painting is of the utmost importance. Careful attention to word stress throughout the course of the piece will make the performance all the more captivating. Descriptive lines such as “frosty wind made moan” should be conveyed with swelling crescendos, like frigid gusts of frozen air.While this piece features an original tune, the beloved Holst melody is also featured briefly, beginning in m. 28. Take care to bring this out.There are plenty of other allusions to wintry scenes scattered throughout the choral parts as well as the accompaniment. I encourage you to put your sleuthing “hats” on and find them all. It will make the learning experience much more memorable and fun.

3-Part Mixed Choral (3-Part Mixed choir)

SKU: HL.1118330

Composed by Ruth Morris Gray. Shawnee Press. Christmas, Concert, Festival, Latin. Octavo. 12 pages. Duration 150 seconds. Published by Shawnee Press (HL.1118330).

ISBN 9781705181072. UPC: 196288107033. 6.75x10.5x0.029 inches.

Accompanied by piano and optional hand drum, this Latin work in 3/4 meter includes an English verse and celebrates the Christmas season, though it can be performed any time of year. Available for both 3-part mixed and 3-part treble, young voices will love this selection as a majestic opening number or processional, filled with rhythmic and dynamic energy.

Choral (3-Part Mixed choir)

SKU: HL.1720682

Discovery Level 2. By American Authors and U2. By Aaron Accetta, David Rublin, James Adam Shelley, Matthew Sanchez, Shep Goodman, U2, and Zachary Barnett. Discovery Choral. Pop. Octavo. Duration 180 seconds. Published by Hal Leonard (HL.1720682).

UPC: 196288267843. 6.75x10.5 inches.

This medley arrangement of “Beautiful Day,” from the Irish band U2, and “Best Day of My Life,” from the American band, American Authors, showcases a universal message to live in the present and enjoy life. Memorable melodies and spirited lyrics make this piece an ideal selection for any choir!

Composed by Gabriel Jackson (1962-). For SATB choir, divisi a cappella. Mixed Voices. New Horizons. Sacred. Level B-C (easy - moderately difficult). Octavo. 8 pages. Duration 3'. Published by Oxford University Press

Choral (3-Part Mixed choir)

SKU: HL.371407

Discovery Level 1. By Katy Perry. By Esther Dean, Katy Perry, Mikkel Eriksen, Sandy Wilhelm, and Tor Erik Hermansen. Arranged by Roger Emerson. Discovery Choral. Pop, Rock. Octavo. Duration 180 seconds. Published by Hal Leonard (HL.371407).

ISBN 9781705148150. UPC: 840126994964. 6.75x10.5x0.036 inches.

This timeless Katy Perry piece makes the perfect addition to any middle school choir. The arrangement employs both unison singing along with carefully crafted harmony set in a great key for growing singers. The lyrics offer a positive message of encouragement and motivation.

Choir

SKU: CA.2708306

Composed by Carl Friedrich Christian Fasch. Edited by Ryan Kelly. Chorus 2 and 3. Sacred vocal music, Masses, Latin. Choral Score. FWV. Duration 23 minutes. Carus Verlag #CV 27.083/06. Published by Carus Verlag (CA.2708306).

ISBN 9790007164188. Language: Latin.

Carl Friedrich Christian Fasch's Mass in 16 parts is remarkable for more than its unusual scoring. Inspired by the Italian church music style of Orazio Benevoli, it was composed in 1783 for the Berliner Sing-Akademie, and revised by Fasch several times throughout his life in order to adapt the score to the vocal capabilities of his ensemble. The composer destroyed all earlier compositions, which probably contributed to the legendary fame which this mass has enjoyed since the 19th century. The mass was, however, only published in 1839 - around four decades after Fasch's death. The present edition is based on the version contained in the first printed edition. In addition to modern music notation, extensive performance materials (two choral scores, separate organ part) facilitate the rehearsal of this challenging work. Score available separately - see item CA.2708300.

Choral (3-Part Mixed choir)

SKU: HL.390137

Discovery Level 2. Arranged by Mac Huff. Discovery Choral. Dixieland, Jazz, Light Concert, Traditional. Octavo. 16 pages. Duration 180 seconds. Published by Hal Leonard (HL.390137).

ISBN 9781705156551. UPC: 196288027553. 6.75x10.5x0.034 inches.

When the Saints Go Marching In is one of jazz music's most beloved songs. This easy arrangement with a driving Dixieland swing provides a first introduction to jazz music.

Composed by Ruth Morris Gray. Shawnee Press. A Cappella, Christmas, Concert, Festival, Traditional. Octavo. 16 pages. Duration 180 seconds. Published by Shawnee Press

Choral (SAB Choir)

SKU: HL.217131

Composed by Erroll Garner and Johnny Burke. Arranged by Kirby Shaw. Jazz Chorals. Oldies, Pop, Samba, Show Choir, Standards, Vocal Jazz. Octavo. Duration 225 seconds. Published by Hal Leonard (HL.217131).

UPC: 888680666248. 6.75x10.5x0.036 inches.

Jazz and pop groups will enjoy bringing this jazzy samba setting of this standard to their audiences. A fresh treatment and excellent change of pace!

3-Part Mixed Choral (3-Part Mixed choir)

SKU: HL.1132732

Arranged by Ruth Morris Gray. Shawnee Press. Concert, Festival, Folk, Multicultural. Octavo. Duration 120 seconds. Published by Shawnee Press (HL.1132732).

ISBN 9781705182840. UPC: 196288112402. 6.75x10.5x0.036 inches.

A lively piano accompaniment with optional percussion and body percussion adds energy to this spirited Scottish folk song. The lyrics are filled with nonsense and fun making a humorous choice for programming. It's a terrific piece to teach rhythm and dynamic contrast, and an opportunity to delve into some Scottish folklore, too.

3-part Mixed Choral (3-Part Mixed choir)

SKU: HL.264818

Composed by Duke Ellington. Arranged by Kirby Shaw. Choral Exploration. Blues, Jazz, Show Choir, Swing, Vocal Jazz. Octavo. 12 pages. Duration 155 seconds. Published by Hal Leonard (HL.264818).

UPC: 888680731151. 6.75x10.5x0.029 inches.

Based on Duke Ellington's composition “C Jam Blues” this is a classic, swinging, improvisatory chart. The classic “riff” style is important to know about and great fun to sing.

3-Part Mixed Choral (3-Part Mixed choir)

SKU: HL.1134815

Composed by George L.O. Strid and Mary Donnelly. Shawnee Press. Concert, Festival. Octavo. Duration 120 seconds. Published by Shawnee Press (HL.1134815).

ISBN 9781705183045. UPC: 196288112907. 6.75x10.5x0.029 inches.

3-part voices will love singing this original tune that gives a nod to the great sea shanties we love to sing. The setting is full of gusto as we “Heave ho! Away!” So, whether you're a wannabe sailor or just a lover of the sea, this is the perfect up-tempo choice for your general concert or themed event. Optional flute included for added sea-worthy flair.

Composed by Earlene Rentz. For TBB choir. Octavo. 8 pages. Duration 2 minutes, 5 seconds. Published by Carl Fischer

Composed by Eugene S. Butler. Octavo. With Standard notation. 12 pages. Duration 4 minutes. Carl Fischer #CM09430. Published by Carl Fischer (CF.CM9430).

Saxophone Ensemble 3 Saxophones & Rhythm Section (Piano, Bass, Drums) + CD Play Back / Play Along - Grade 3

SKU: MA.EMR-28384

Composed by Gunter Noris. 3 Saxophones (S(A)AT) & Rhythm Section (Piano, Bass, Drums) (+ Play Back / Play Along CD optional). Score and parts. Duration 19'10. Editions Marc Reift #EMR 28384. Published by Editions Marc Reift (MA.EMR-28384).

Ritmo Del Amor / Samba Ole / Sentimental Dreams / Swing And Jive / Tango Macho / Tropical Lady / Vamos A La Fiesta.

Composed by Paul David Thomas. Sws. Octavo. 16 pages. Duration 3 minutes, 8 seconds. Carl Fischer Music #CM9647. Published by Carl Fischer Music

3-Part Mixed Choral (3PT MIXED)

SKU: HL.388183

Arranged by Andrew Parr. Shawnee Press. Concert, Festival. Octavo. Duration 120 seconds. Published by Shawnee Press (HL.388183).

ISBN 9781705155998. UPC: 196288025269. 6.75x10.5x0.018 inches.

Arranged for developing choirs with careful attention to ranges, this historic sea shanty is repetitive with enjoyable harmonies making the piece easy to learn and fun to sing.

Composed by Robert Macgimsey. Arranged by Ken Berg. For SSA choir. Octavo. 12 pages. Duration 4 minutes, 22 seconds. Published by Carl Fischer

Composed by John Rutter (1945-). This edition: paperback. Vocal score. 32 pages. Duration 20 minutes. Published by Oxford University Press (OU.9780193513181).

Choral (3-Part Mixed choir)

SKU: HL.1134816

Composed by Karen Crane. Shawnee Press. Christmas, Concert, Winter. Octavo. Duration 137 seconds. Published by Shawnee Press (HL.1134816).

ISBN 9781705183052. UPC: 196288112914. 6.75x10.5x0.029 inches.

This original work in minor sets an inviting mood singing of candles shining in the night. Whether for Christmas, Hanukkah, or any other time of year the theme of candles is used, you will love this text of joy, peace and love set with vocals that are beautifully written and easily learned.

Composed by Ruth Elaine Schram. Octavo. With Standard notation. 8 pages. Duration 2 minutes, 5 seconds. Carl Fischer #CM09432. Published by Carl Fischer (CF.CM9432).

Choral SSA Choir and Piano

SKU: CF.CM9718

Composed by Meredith Tompkins. 8 pages. Duration 2 minutes, 23 seconds. Carl Fischer Music #CM9718. Published by Carl Fischer Music (CF.CM9718).

ISBN 9781491160978. UPC: 680160919574. Key: D major. English. Manmohan Ghose.

Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. A Lament is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father's death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: I like to think of this piece as a metaphorical hall of mirrors. The original 'image' of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement. As a nod to the poet's birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.
Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. “A Lament” is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father’s death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: “I like to think of this piece as a metaphorical hall of mirrors. The original ‘image’ of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement.” As a nod to the poet’s birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.

Two Folksongs of Love and Loss. Composed by American Folk Song Irish Folk Song. Arranged by Greg Gilpin. Fold. Octavo. 8 pages. Duration 1 minute, 40 seconds. Carl Fischer Music #CM9646. Published by Carl Fischer Music

Choral TTBB choir, piano

SKU: CF.CM9635

Composed by Victor Johnson. Fold. Performance Score. 12 pages. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9635. Published by Carl Fischer Music (CF.CM9635).

ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).

Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).
About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.” The singer should make a motion as if they have a paintbrush in their hand and “paint” the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.