| The Cat Is in the Kitchen - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS179F
Composed by Bud Woodruff.
Young String Orchestra
(YAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#YAS179F. Published by
Carl Fischer Music
(CF.YAS179F). ISBN
9781491151815. UPC:
680160909315. 9 x 12
inches. Key: F
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 $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Cat Is in the Kitchen - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
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 $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Adventurer's Dream - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 4
SKU: CF.CAS98
Composed by Bud Woodruff.
SWS FS. Carl Fischer
Concert String Orchestra
Series. Set of Score and
Parts. With Standard
notation.
16+4+16+10+10+10+2+16
pages. Duration 2
minutes, 54 seconds. Carl
Fischer Music #CAS98.
Published by Carl Fischer
Music (CF.CAS98). ISBN
9781491146583. UPC:
680160904082. 9 x 12
inches. Key: G
major. Composer Bud
Woodruff takes his
musical inspiration for
Adventurer's Dream from a
rooster named Wally. Mr.
Woodruff turns this
charming four-note crow
into the main thematic
material for this piece
that is reminiscent of
classic movie
scores. The principal
theme to this piece has
an interesting history .
We had a very young
rooster named Wally . He
had a quite rhythmic
four-pitched crow, which
was very unique and
consistent . As he aged,
his crow settled into
pitches and the opening
melodic figure of this
piece is the very pitches
and rhythm of
Wally’s crow .
However, Wally had a
touch of a glissando
between the last two
pitches, which I chose to
eliminate, for
musicality’s sake
. Wally's crow is spun
out in different ways and
used one way or another
in all the sections of
the piece . Wally was a
very energetic, if not
egotistical, young bird,
and the piece should be
performed accordingly, in
a dashing, swashbuckling,
heroic style, which Wally
would appreciate greatly
and agree that it was
very
appropriate!Rehearsal
suggestions:The most
difficult thing to
accomplish in this work
will be deciding if you
want the repeated
eight-note figure on the
string or off the string
. I don’t care as
long as it sounds
staccato . On the string,
it needs to be played at
or by the camber point;
off the string, that
point will change
depending upon your
tempo, but the stroke
itself should remain
consistent .Although the
basses never have the
melody, they are a
critically important
section and can make or
break this piece . Their
part counters the others
and fills in rhythmic
gaps in a number of
places . It needs to be
played aggressively and
metronomically; they are
the glue that makes the
piece work . The cellos
need to sing for all they
are worth at m . 63 and
do so with joy in their
hands . Their theme needs
to be very lyrical and
smooth . The
countermelody at m . 79
should be understated,
yet not buried while
being intertwined with
the cellos’ theme
. It harkens back to the
main theme and needs a
dreamy quality to it .The
piece was written as a
string orchestra piece .
The optional harp part
was added later and is
not necessary for an
effective performance of
the piece . However, it
does add some extra
variety and color to the
piece, and reinforces the
basses when they fill in
those rhythmic gaps to
which I referred earlier
.A very special thanks
goes to harpist Jane
Minnis for the great and
insightful suggestions
for this part .Thank you
for playing this piece .
I trust you will enjoy it
as much as I do .
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Barn Dance Saturday Night - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS167
Composed by Bud Woodruff.
SWS FS. Young String
Orchestra. Set of Score
and Parts. With Standard
notation. 8+2+8+5+5+5+2+8
pages. Duration 1 minute,
41 seconds. Carl Fischer
Music #YAS167. Published
by Carl Fischer Music
(CF.YAS167). ISBN
9781491146477. UPC:
680160903979. 9 x 12
inches. Key: D
major. Barn Dance
Saturday Night depicts
the gathering of hometown
country folks for a
square dance. Different
from a rousing fiddle
tune, in that the tempo
is a bit more reserved,
it is happy music that
will be fun to play and
will delight your
audiences. I wrote
this piece several years
ago for one of my groups
which met during the last
period of the day. They
loved to play what they
called “Happy
Music,†because it
perked them up and they
left school in a good
mood. The arrangement I
wrote then was quite
group specific; this
version should fit most
orchestras very well, and
itspreads the melody
around more.This work is
not intended to be
intimidating or profound
in the least but,
instead, should evoke
smiles. However, that
does not mean that it
should be played in a
sloppy manner or without
a diligent attitude. The
staccatos are very
important. Players should
take special care not to
clamp down on the bow
with their bow holds in
order to make the notes
short; they can be
executed by using relaxed
wrist andfingers alone,
if that is what the
teacher wants their
players to be learning
while preparing this
piece. There should be
only good tone on those
notes, and accents should
not be added where not
indicated unless
instructed to do so by
the teacher.There are
notes in this piece with
a tenuto mark (full
value, but clearly
defined) AND a staccato
mark (separated). I want
these notes to be clearly
enunciated; not short,
but not sustained into
the next note, either.
The key to doing this
well may come in m. 48,
where the basses and
cellos must make a retake
going into m. 49. The
length of the quarter
notes in m. 44 should
match the length of the
quarter notes in m.
48. 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 $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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