Matériel : Partie seule
SKU: CF.BAS83
ISBN 9781491159125. UPC: 680160917709.
This standard for beginning strings has a new twist to it. The melody is much easier to teach in 4/4 rather than in 3/4. It is still in D major and contains no altered fingerings. The tempo marking is very playable by your younger students, and the dynamic marking is always f so that the orchestra can focus on the notes. The piece contains pizzicato and arco sections, with the melody in both the upper and lower strings. This easy three-part harmony arrangement has bowings marked and is a great piece to showcase strings when they are comfortable with the D major scale.This standard for beginning strings has a new twist to it. The melody is much easier to teach in 4/4 rather than in 3/4. It is still in D major and contains no altered fingerings. The tempo marking is very playable by your younger students, and the dynamic marking is always Æ’ so that the orchestra can focus on the notes. The piece contains pizzicato and arco sections, with the melody in both the upper and lower strings. This easy three-part harmony arrangement has bowings marked and is a great piece to showcase strings when they are comfortable with the D major scale.
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:
SKU: CF.BAS83F
ISBN 9781491159293. UPC: 680160917877.
SKU: AP.1-ADV40001
UPC: 805095400014. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds (set includes 8,6,4,4,4,4 strings and 2 sets of woodwind parts), or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.
SKU: AP.1-ADV40002
UPC: 805095400021. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.
SKU: AP.1-ADV40000
UPC: 805095400007. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with string sextet (2 violins, 2 violas, cello, bass) and woodwind quintet (flute, oboe, clarinet, French horn, bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords. Optional solo part for alto saxophone is included.
SKU: AP.1-ADV40003
UPC: 805095400038. English.
A three-movement piece which combines orchestral vocabulary with a variety of groove oriented music such as Latin, jazz, and American folk music. It can be performed either with any size string orchestra and winds, or with a string sextet (2 violins, 2 violas, cello, and bass), and woodwind quintet (flute, oboe, clarinet, French horn, and bassoon). The first two movements, allegro moderato and lento, showcase the lyrical side of the saxophone. The third movement, allegro molto, involves a good deal of virtuosity and requires improvisational skills over modal chords.
SKU: KN.8108
UPC: 822795081084.
This five-part rondo showcases the high, middle and low registers of the orchestra in contrasting passages. A mix of majestic and lyrical themes adds to the overall appeal. If the optional percussion part for snare and bass drums is used, care should be taken to ensure that the string parts are clearly heard at all times. Duration 2:20. Available in SmartMusic.
SKU: CF.PAS21F
ISBN 9781491151563. UPC: 680160909063. 9 x 12 inches. Key: D major.
String teachers are always trying to encourage their students to play with more bow. Composer Joseph Compello gives very beginning students the chance to do just that in his piece,?Arco-ology. There is an opportunity for all sections of the orchestra to showcase their developing musicality in this fun and short piece.Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement.A At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement.A At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..Arco-o logy is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody.Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody.
SKU: CF.PAS21
ISBN 9781491151198. UPC: 680160908691. 9 x 12 inches. Key: D major.
SKU: CF.AS66F
ISBN 9781491154649. UPC: 680160913190. 9 x 12 inches. Key: Eb major.
The new Masterworks Series by Carl Fischer Music will showcase arrangements of 20th Century American composers. Symphony No. 2 by Howard Hanson is one of the most popular American Symphonies ever written, and is played regularly by major symphony orchestras around the world. It was originally commissioned by the Boston Symphony Orchestra to celebrate their 50th anniversary in 1930, where it was given its first performance. The work was most famously used in the end credits of the movie Alien in 1979. This arrangement focuses on the hauntingly beautiful second theme of the first movement. After being stated in the key of E-flat Major, it provides a contrasting section before returning in the key of D-flat Major. Cellos are featured prominently in tenor clef, and often cover the soaring horn solos from the original. Musicians will experience true symphonic beauty in this exquisite arrangement for strings and harp.The new Masterworks Series by Carl Fischer Music will showcase arrangements of 20th Century American composers. Symphony No. 2 by Howard Hanson is one of the most popular American Symphonies ever written, and is played regularly by major symphony orchestras around the world. It was originally commissioned by the Boston Symphony Orchestra to celebrate their 50th anniversary in 1930, where it was given its first performance. The work was most famously used in the end credits of the movie Alien in 1979. This arrangement focuses on the hauntingly beautiful second theme of the first movement. After being stated in the key of E-flat Major, it provides a contrasting section before returning in the key of D-flat Major. Cellos are featured prominently in tenor clef, and often cover the soaring horn solos from the original. Musicians will experience true symphonic beauty in this exquisite arrangement for strings and harp.
SKU: MN.25-179
UPC: 688670251795.
Incor porating five well-known Christmas carols, this delightful work is a great opportunity to showcase a flute or solo violin player. The florid parts in the strings do not relegate them to serving solely an accompanying role, with the first violins particularly given melodic prominence. Key and time signature changes propel the music forward and add further interest to this vibrant setting.
SKU: CF.YAS74
ISBN 9780825869587. UPC: 798408069582. 8.5 X 11 inches. Key: D major.
Sonatina is based on a simple piano piece by James Hook, a composer from the Classical period. Carl Strommen has set and expanded this delightful piano piece to showcase the full resources of the string orchestra. It also contains a nice B section that shifts to a minor key for added interest.A contemporary, as well as friend, of Clementi and Haydn, James Hook (1746–1827) was born in Norwich, England. Among his notable works are oratorios (The Ascension, being the most well known), a series of serious and comic operas, chamber and keyboard music. Originally one of Hook’s piano pieces, Sonatina is transcribed here for strings.Sonatina should be played as marked on the original keyboard version: “Giocoso†( lightly, humorously). The minor section at m. 25 may be played a bit “darker†but should return to “Giocoso†at m. 41. An optional violin 1 solo is offered at m. 34.
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
SKU: FJ.ST6535S
English.
Showcas e a student or bring in a guest artist to perform with your beginning students! Included are advanced solo violin and viola parts along with easier violin and viola solos as an option. Highlighting the strength and resilience of the human spirit, the piece utilizes some of Newbold's favorite string techniques to show off the violin / viola. An included piano part works well for recitals. Solo Grade 2.5 - 4.5.
SKU: FJ.ST6535
UPC: 241444437698. English.
Showcase a student or bring in a guest artist to perform with your beginning students! Included are advanced solo violin and viola parts along with easier violin and viola solos as an option. Highlighting the strength and resilience of the human spirit, the piece utilizes some of Newbold's favorite string techniques to show off the violin / viola. An included piano part works well for recitals. Solo Grade 2.5 - 4.5.
SKU: FJ.ST6550S
An imagined soundtrack to a high-stakes game of espionage... The music drifts between episodes of intense dissonance and brief moments of calm, allowing you to catch your breath before the chase continues once again. Relying heavily on rhythmic pulse and reinforcing rhythmic independence, this engaging work also offers plenty of opportunities to showcase dynamic contrast and really bring the excitement to a new level!
About FJH Beginning Strings
Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: FJ.ST6550
SKU: KN.9997
UPC: 822795099973.
We welcome Joshua Reznicow to the Kendor family of writers with this festive original that sounds more difficult to play than it is. Written in G major and its relevant minor key, it gives directors a chance to teach both sharp and flat keys while using open strings to maintain a solid pitch center. Controlling bow speed and style using hooked bow, spiccato, and slurred techniques helps to drive the musical energy throughout. Short solos and a brief violin cadenza lead to a rewarding finish and allow more advanced players to showcase their skills. Duration ca. 3:40. Available in SmartMusic.
SKU: KN.09997S
SKU: PR.11641861SP
UPC: 680160685202.
What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: CF.FAS117F
ISBN 9781491157558. UPC: 680160916139. 9 x 12 inches.
Mill Creek Stomp depicts a joyous, folksy dance with everyone having a great time! Both high and low strings share the straightforward melody of basic quarter notes and eighth notes set in cut-time. The piece showcases staccato, legato, pizzicato sections, stomping, and an optional tambourine part to energize the dance even more. Developing string students will enjoy performing this any time of year, from a fall harvest-themed concert to a spring finale.Mill Creek Stomp depicts a joyous, folksy dance with everyone having a great time! Both high and low strings share the straightforward melody of basic quarter notes and eighth notes set in cut-time. The piece showcases staccato, legato, pizzicato sections, stomping, and an optional tambourine part to energize the dance even more. Developing string students will enjoy performing this any time of year, from a fall harvest-themed concert to a spring finale.
SKU: CF.BAS80
ISBN 9781491151259. UPC: 680160908752. 9 x 12 inches. Key: E minor.
Joseph Compello's Great Plains Saga for the beginning string orchestra students depicts wide open spaces, rugged terrain, and covered wagons heading West through the American plains. Students will love playing this contest selection, written in a minor mode. This piece can be learned in as little as 10 weeks, yet showcases the students' abilities and growth.Great Plains Saga is an easy concert piece for a young string ensemble. The music should be performed in a manner which evokes the rustic openness of the American continent at the time when Native American tribes inhabited it. Accordingly, the music is modal and thus provides an ancient character to the melodies. The first theme appearing at m. 9 consists of six notes. It repeats at m. 17 in the cello part with a countermelody in the violins.  After a brief transition m. 25, the second section begins with a quiet two-measure phrase that is answered forte by the low strings.  This call-and-response episode continues until m. 43 where the transition to the opening theme begins. At m. 49 the director may wish to slow the tempo just a bit to give the music a heavier feel. The coda at m. 57 may be played freely and dramatically.