PARTITIONS GRATUITES : ORCHESTRE
ROMANTIQUE
- Tick.

By Johann Strauss, Jr. (1825-1899). Arranged by Olivier Huyard. For Concert Band. Grade 3. Full score and set of parts. Duration 3:00. Published by Baton Music

Orchestra

SKU: HL.51489069

Study Score. Composed by Franz Joseph Haydn. Edited by Horst Walter. Henle Music Folios. Classical. Softcover. 93 pages. G. Henle #HN9069. Published by G. Henle (HL.51489069).

UPC: 840126951905. 6.75x9.5x0.291 inches.

Haydn arrived in London at the beginning of February 1794 for his second stay in England. By this time, he had completed three movements of the Symphony in D major Hob. I:101, and the finished work was premiered on 3 March. Even the members of the audience at the premiere took note of the pendulum-like accompanying figure in the second movement, which was in fact explicitly mentioned in a review: “The management of the accompaniments of the andante, though perfectly simple, was masterly.” The even tick-tock oscillations sparked the imagination of listeners so much, apparently, that the nickname “Clock” came into use later in the nineteenth century. And while this name may have nothing to do with Haydn, is it even possible to listen to the famous second movement today without making the association? To everyone wishing to become more acquainted with this symphony, let this inexpensive study edition be commended - with reliable commentaries on its genesis, sources, and edition as well as an unassailable musical text taken from the Haydn Complete Edition.

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Hi-hat Cymbal, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Temple Blocks, Timpani, Trombone, Trumpet, Tuba and more. - Grade 1

SKU: CF.BPS32

Composed by Joseph Compello. FS-SWS. Carl Fischer Beginning Performance Series. Classical. Score and Set of Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+2+3+1 +2+1+1+20 pages. Carl Fischer Music #BPS32. Published by Carl Fischer Music (CF.BPS32).

ISBN 9780825855313. UPC: 798408055318. 9 X 12 inches. Key: Bb major.

Krazy Klock Rock is a novelty percussion solo for temple blocks or woodblock(s). As the title suggests, the sound of the solo should give the impression of a ticking clock. This amusing tune incorporates elements of rock and swing, all tied together by the sound of the ticking clock. A fun piece on any program, Krazy Klock Rock is sure to be a winner with your young band.

By Susan H. Day. Orchestra. String Orchestra. Highland String Orchestra. Grade 1.5. Conductor Score and Parts. 124 pages

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 French Horns in F, 2 Oboes, Bird Whistle (Water Type), Boing Box, F#5), Harmonica (D#5, Heavy Cloth for Ripping, Moo Cow (Cylinder which wh, Popgun, Squeeze Toy, Sticks, Toy Cymbals, Toy Drum, Toys (Percussion, one player)

SKU: PR.41641399L

For Assorted Winds and Toys. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Classical. Large Score. With Standard notation. Composed May 12 1977. (S. 86). 34 pages. Duration 12 minutes. Theodore Presser Company #416-41399L. Published by Theodore Presser Company (PR.41641399L).

UPC: 680160597772. 11 x 14 inches. Key: C major.

By Timothy Loest. FJH Starter Series. Because Aruba Tuba is a tuba feature, tuba players should be positioned front and center. To establish a solid beat, maracas should be played with alternating up and down wrist strokes, and the claves and cowbell should be held chest high so that their sound projects. Bongos should be mounted and played with rattan sticks, with the smaller drum positioned on the player's right. If bongos are unavailable, timbales, pitched toms, or snare drums with snares off may be used. A simplified snare drum part is also included. Score for this title: B1290S. Extra part for this title: B1290P. Concert Band. Level: 0.5. Score and Set of Parts. Published by The FJH Music Company Inc.

Orchestra (Score & Parts)

SKU: HL.48180419

For Orchestra. Composed by Bohuslav Martinu. Leduc. Classical. 50 pages. Alphonse Leduc #AL17700. Published by Alphonse Leduc (HL.48180419).

UPC: 888680846893. 9.0x12.0x0.34 inches.

Composed by the Czech composer Bohuslav Martinu in 1927, The Kitchen Revue is a ballet initially created for a sextet. This score was reviewed and tailored for an orchestra. This ballet, talking about the life of kitchen utensils, is divided in ten sections: 1. Prologue (Allegretto) 2. Introduction (Tempo de marche) 3. Danse du moulinet autour du caudron (Poco meno) 4. Danse du chaudron et du couvercle (Allegro) 5. Tango (Danse d'amour. Lento) 6. Duel (Poco a poco allegro. Tempo di Charleston) 7. Entracte (Lamentation du chaudron. Allegro moderato) 8. Marche funebre (Adagio) 9. Danse radieuse (Tempo di marche) 10. Fin du drame (Allegretto) The story focuses on the marriage of the Pot and Lid which is put at risk by the Twirling Stick, and the music features some strong jazz influences. Bohuslav Martinu (1890-1959) also wrote 13 other ballets, 15 operas and 6 symphonies and some orchestral and chamber music.