PARTITIONS GRATUITES : 1 PIANO, 4 MAINS (DUO)
- Delicate

Arranged by Melody Bober. For Piano. Arranged For You. Expressions range from the delicate to the dramatic. Around the World. Level: Advanced. Solo Sheet. Published by The FJH Music Company Inc.

(Top Tenor Solos (and Ensembles) Ranging From Sick and Twisted to Insane). By Multiple. Arranged by Matt Altmire, Michael Apodaca, Bill Bachman, Mark Campbell, Murray Gusseck, Mike Hodges, Colin McNutt, Brian Perez, Matt Ramey, Nick Werth. For Tenor Drums (Marching Tenors). This edition: Marching Tenor Solo and Ensemble Collection. Books. Top tenor solos and ensembles ranging from sick and twisted to clinically insane! Attention tenor bangers and rudimental quad choppers! Leave your delicate sensibilities at the door. This book here is for crazy fools only! Do the math... 6 tenor solos by some. Insane. Book. 76 pages. Duration 0:00

By Taylor Swift. Piano Vocal. Pop. Softcover. 8 pages. Published by Hal Leonard

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

SKU: CF.YAS184F

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.
 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 String Orchestra - Grade 1.5-2

SKU: CF.FAS26

Full Score. Composed by Sean O'Loughlin. Carl Fischer First Plus String Orchestra Series. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #FAS26. Published by Carl Fischer Music (CF.FAS26).

ISBN 9780825854811. UPC: 798408054816. 8.5 X 11 inches. Key: D major.

Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teachingA pizzicato playing as a melodic device. Most often,A pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the mainA pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing theseA pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of theseA pizzicatoA lines.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teachingA pizzicato playing as a melodic device. Most often,A pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the mainA pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing theseA pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of theseA pizzicatoA lines.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless. Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lines.
Arches is a piece for the developing string orchestra that derives its title from the national park in Utah. I visited the Arches National Monument in June of 2003 during a cross-country trip. The Delicate Arch is the recognizable landmark from this beautiful national park. In order to see this remarkable natural formation up close, you have to hike a trail of over two miles. The music in this piece is inspired by my journey to see the arch. Once there, you are treated to a vast panoramic view of the golden Utah landscape that leaves one breathless.Arches is an effective piece in teaching pizzicato playing as a melodic device. Most often, pizzicato is used as an effect or punctuation mark to larger melodic ideas. There is a brief arco section to provide contrast and build up to the dramatic return of the main pizzicato melody. Each section in the ensemble has a statement of the melody. It is important to think linearly in addition to vertically when playing these pizzicato lines. Forward motion is of up-most importance in terms of making musical phrases out of these pizzicato lin es.

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

SKU: CF.YAS184

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.
 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