SKU: CF.O5304
ISBN 9780825820830. UPC: 798408020835. 9 X 12 inches.
SKU: CF.CPS198F
ISBN 9781491148242. UPC: 680160905744. 9 x 12 inches.
The beautiful English/Irish folk song Kathleen Mavourneen is the basis for this ballad. The Grey Dawn Is Breaking offers an opportunity for young musicians to stretch their musical muscles by developing expression through dynamics, phrasing, and even rubato.
SKU: CF.F1304
ISBN 9781491154564. UPC: 680160913084. 9 X 12 inches.
SKU: CF.CM9536
ISBN 9781491150689. UPC: 680160908189. 6.875 x 10.5 inches.
Will the Rain Fall Down tells the story of a Dust Bowl (1930s) era farmer who, after years of discouragement, still retains hope for the future. Ayres' musical story-telling style is haunting, made more so by the addition of optional percussion. Written for tenor-bass choirs of all sizes and abilities, the TB1, TB2 or TB(B) flexible voicing option is sure to meet the needs of any tenor-bass ensemble.
SKU: CF.YAS246F
ISBN 9781491165386. UPC: 680160924295. Key: D minor.
Nikolai Rimsky-Korsakov completed this programmatic overture in the spring of 1888 and dedicated it to the memory of two of his friends who were also prolific Russian composers, Modest Mussorgsky and Alexander Borodin. He utilized original melodies and traditional melodies from liturgical chants of the Russian Orthodox Church. His brilliance as an orchestrator was showcased in this large work for full orchestra and included multiple time and key signatures in addition to various solos and cadenzas.This arrangement stays true to the original key signatures and includes all main melodic and harmonic voices and structure in a continuous performance that is accessible and challenging. Care should be shown to the changes in meter, tempo and key signatures along with techniques such as divisi and tremolo. Subdivision and counting can be reinforced throughout this piece. In addition, suggested fingerings have been given to help navigate chromatic and shifting portions of this arrangement. Enjoy performing this arrangement of Nikolai Rimsky-Korsakov’s masterpiece!
About Carl Fischer Young String Orchestra Series
This 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: CF.O5368
ISBN 9780825836190. UPC: 798408036195. 9 X 14 inches.
Fábulas (Fables), the first work of Carlos Rodriguez to be published by Pembroke Music (a division of Carl Fischer), was commissioned by the Los Angeles Philharmonic Association. It was premiered by the Los Angeles Philharmonic under the direction of Esa-Pekka Salonen on April 10, 1996. The piece, an extended one-movement structure involving a large orchestra with a very full percussion section, is concerned with narrative forms in purely symphonic terms, ie. - without an actual program. The musical sequence of the piece, in three continuously evolving sections lasting about 15 minutes overall, is derived from the very opening 12-note string chord arrayed in a pattern of perfect 5ths and minor seconds extending over four octaves. The central core of the piece, subtitled Six Anagrams, involves a highly unusual and original application of the 12-note concept. Each pitch in the row is assigned a letter so that the row spells out the phrase voice leading. The six anagrams are re-orderings of this sequence into six new rows, which are then subjected to canonic development. The resulting sophisticated game provides Fábulas, with a rare degree of musical coherence. A fascinating work that rewards detailed analysis, Fábulas, is so brilliantly scored that it dazzles on its own terms, as sound, even without detailed examination of its elaborate underpinnings.
SKU: CF.CPS33F
ISBN 9780825851469. UPC: 798408051464. 9 X 12 inches.
SKU: CF.SPS96
ISBN 9781491163795. UPC: 680160922581.
Popcatepetl, “Smoke Mountain” in Aztec, is a dormant volcano which the Mexican people affectionately call “POPO.” This dormant volcano in Mexico is on the boundary between the states of Mexico and Pueblo.In 1921 Popocatepetl belched smoke and gas for several months. Since then is has occasionally emitted the smoke and sulfurous vapors that earned its Aztec name.This suite is my musical impression of the Aztec volcano. The piece is divided into three scenes.The first scene, Prologue, is the first impression formed when you first come upon the volcano. The emotions range from fear to excitement to respect for nature. This scene should be played with spirit and every rhythmically.The second scene, Ballad. represents my feelings after the initial emotions have faded. One is quickly relaxed by the beauty of the volcano and its surroundings. This scene is scored in a dance-band style with lush sounding harmonics. This section of the composition should be played very slowly and with a relaxed feeling.The third scene, Introduction and Samba, is the emotion of joy utilizing Latin rhythms. This scene takes advantage of all of the color and rhythms associated with Mexico. Samba opens with a fanfare which is the main theme on which the whole scene is developed. This section should be played very crisply and rhythmically.Particular attention should be paid to all of the dynamic expressions even though the scoring will in most cases achieve dynamic changes.
SKU: CF.FPS143F
ISBN 9781491147979. UPC: 680160905478. 9 x 12 inches.
The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing bands that emphasizes expression, phrasing, and dynamics. Low voices will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.
SKU: 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.
SKU: CF.ASB27
ISBN 9781491151136. UPC: 680160908639. 9 x 12 inches.
SKU: CF.YPS217
ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).
SKU: CF.CM9060
ISBN 9780825866210. UPC: 798408066215. 6.875 X 10.5 inches. Key: F major.
The first carol in Ken Berg's set of Three Basque Christmas Carols, this one is set for TTB Voices. The characteristic aggressiveness of Basque folk music makes this piece particularly suitable for young men and the percussion instruments add an effective note to the march-like flavor of the music. Be sure to emphasize the strong rhythmic drive and stark contrasts of this unusual selection.
SKU: CF.FAS134F
ISBN 9781491165171. UPC: 680160924080. Key: D major.
George Frederic Handel (1685-1759) is a German composer whose musical legacy has lasted over three hundred years. While most people know his Hallelujah Chorus from the oratorio The Messiah, many of his other compositions are still performed around the world, including La Rejouissance from the Royal Fireworks Suite. The suite was commissioned by King George of England to celebrate the Treaty of Aix-La-Chapel. King George said he wanted only wind and percussion instruments, specifically requesting “no fiddles.” 12,000 people attended the dress rehearsal of the concert. In contrast, the actual performance happened in the rain, which meant many of the fireworks did light, but managed to set the immense pavilion on fire. Handel later added strings to the Royal Fireworks Suite for a charity performance for The Foundling Hospital of London.For young students, the character of Handel’s music is defined by the types of bow strokes. Quarter notes should be played with a detached bow stroke with a hint of an accent. Eighth notes may be played more connected but will sound best with a slight detachè stroke. If more advanced students join the performance, a minimized vibrato is typical of music from the Baroque era. Terraced dynamics may be practiced by stopping just before the dynamic change and adjusting the weight of the bow arm, then proceeding in the new dynamic such as in measures 37-39.
SKU: CF.BPS115
ISBN 9781491152010. UPC: 680160909513.
The Gauntlet is a piece written to sound bold and exciting while also being accessible to young performers with a limited range. Simple yet bold rhythms add excitement, heightened by the fact that every section has an opportunity to play melodic content. The interesting “development” section provides a contrast to the opening and helps to build the suspense before the return of the main theme. The percussion helps to drive the energy of the piece by providing a variety of colorful sounds including a gong solo at the end to signal the knight’s triumph.A knight gallops over the rise of the hill into battle, determination shining in his eyes. He must charge through the treacherous lines and survive in order to preserve his kingdom and his honor. The pounding of the battle drums echoes the desperate pounding of his heart. Swords clash and the hooves of the horses strike the muddy ground. He must run this torturous gauntlet. Will he succeed before it is too late?The Gauntlet is a piece written to sound bold and exciting while also being easy for young players to perform due to the piece’s limited range (comprised of the first seven notes in most method books). Simple but bold rhythms add an air of excitement. This is heightened by the fact that every section has an opportunity to play melodic content, even the low brass. The interesting “development” section provides a contrast to the opening section and helps to build some intrigue and suspense before the return of the main theme. The percussion helps to drive the energy of the piece by providing lots of colorful sounds including a gong solo at the end to signal the knight’s triumph.
SKU: CF.CM8923
ISBN 9780825857607. UPC: 798408057602. 6.875 X 10.5 inches. Key: Bb major. Text: Herb Frombach; Robert Lowry. Herb Frombach, Robert Lowry.
SKU: CF.FPS112F
ISBN 9780825896187. UPC: 798408096182. 9 x 12 inches.
New to Carl Fischer Music, composer Richard Summers gives us a stunning concert overture based on Renaissance and early music styles. Students will find that Epoch Fantasy is pleasantly reminiscent of music from current video games. The modal first theme is contrasted nicely with a sweet lyrical middle section that will highlight the budding musicianship of your developing band.
SKU: CF.YAS191F
ISBN 9781491154908. UPC: 680160913459. 9 x 12 inches. Key: G major.
Peaceful scenes of quiet, gentle snow are reflected in this nostalgic melody for intermediate strings. A flowing legato theme evokes warm memories of innocence and joy as it moves between the sections, allowing all players a chance to practice playing with sustained bows and beautiful tone. Moments of modulation use easy accidentals in first position to relay the mystery and magic of the season. Piano and bells add to the dream-like quality of this serene concert selection and are highly recommended. This is the quintessential sound for any winter concert.
SKU: CF.CAS161F
ISBN 9781491165461. UPC: 680160924370. Key: D minor.
Perseverance embodies the personal challenge and ultimate victory of staying strong in the midst of struggle and hardship. The piece is full of rhythmic energy and musical intensity, giving each section of the orchestra plenty of opportunities to shine. First violins also get to take things to the next level with string crossing patterns that sound really flashy, as well as some 3rd position. Written with the intermediate-advanced orchestra in mind, this piece will excite performers and audiences alike.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS121F
ISBN 9781491154724. UPC: 680160913275. 9 x 12 inches. Key: A major.
To the Ocean expresses a sea-faring voyage filled with excitement and hope. The ocean changes its look in different situations, which is shown in the varied harmonic progressions. The music changes the colors and atmosphere like the ocean. Students will use staccato and legato in various scenes of the music in the often neglected key of A Major. Enjoy sailing across the ocean in this musical journey around the world. Other pieces by Yukiko Nishimura about the journey to the sea are Sailing! and Blue Water..To the Ocean expresses a sea-faring voyage filled with excitement and hope. The ocean changes its look in different situations, which is shown in the varied harmonic progressions. The music changes the colors and atmosphere like the ocean. Students will use staccato and legato in various scenes of the music in the often neglected key of A Major. Enjoy sailing across the ocean in this musical journey around the world. Other pieces by Yukiko Nishimura about the journey to the sea are “Sailing!” and “Blue Water.”.
SKU: CF.CM9131
ISBN 9780825869112. UPC: 798408069117. 6.875 X 10.5 inches. Key: G major.
With text attributed to Stephen Grellet, David Eddleman presents a sublime unaccompanied choral that exhorts us to do any good or any kindness now. High School and above. 1:52.
SKU: CF.YPS175F
ISBN 9781491144138. UPC: 680160901630. 9 x 12 inches.
This fun, pirate themed piece from James Meredith finds ways to intrigue the performer and audience with catchy melodies spliced with subtle mentions of classical themes. This makes the piece fun while also giving teachers opportunities to pique interest in other literature.
SKU: CF.BF145
ISBN 9781491160176. UPC: 680160918775.
The 22 holiday classics contained in this collection have been carefully arranged for any combination of string trio. The melodies, both sacred and secular, cover many centuries and originate in Western Europe and the United States. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Including such favorites as Carol of the Bells, Silent Night, and God Rest You Merry, Gentlemen, these trios may be performed in a variety of venues from church services to holiday gatherings. This Compatible String Ensembles collection of Christmas Trios will set the mood in any environment.
SKU: CF.FE92S
ISBN 9780825879029. UPC: 798408079024. 8 inches.
SKU: CF.YBS121
ISBN 9780825836893. UPC: 798408036898. 9 X 12 inches.
A grand and sweeping panorama that calls up days-of-yore when knighthood was in flower, Ivanhoe, suggested by the celebrated novel of Sir Walter Scott, is a powerful and impressive tone poem for band. As usual with Del Borgo, the scoring is colorful and contrapuntal, with especially fine use of a large percussion section, and the employment of a wide, but accessible, harmonic palette. Duration: 4'30.
SKU: CF.YAS133F
ISBN 9780825895043. UPC: 798408095048. 9 x 12 inches.
SKU: CF.BPS58F
ISBN 9780825869952. UPC: 798408069957. 9 x 12 inches.
Supremacy is an engaging work for the beginning concert band. The piece provides many important teaching opportunities to reinforce rhythm, counting, and dynamics in the students' development. The rhythms in the wind parts are limited to quarter, half, and whole notes, and the music incorporates basic dissonance and resolution into the fabric of the piece. A perfect piece for the students' first experience performing at contest/festival.
SKU: CF.CM9527
ISBN 9781491150597. UPC: 680160908097. 6.875 x 10.5 inches.
A very energetic and joyful chorus from Handel's oratorio Samson, Awake the Trumpet's Lofty Sound, arranged by Russell Robinson is in an accessible key for SSA choirs. Sure to delight audiences and enhance programming for any concert.
SKU: CF.YAS190F
ISBN 9781491151921. UPC: 680160909421. 9 x 12 inches.
As part of a collaboration between students and composer, Sean O'Loughlin, Dark Dreams is a dark and mysterious piece that utilizes techniques such as tremolo and pizzicato. Following a slow and mysterious opening which illustrates the tapestry of sound for the composition, the work develops the musical material into various vivid, intense, and gripping musical moments.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.
The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.
The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.
SKU: CF.SC82
ISBN 9780825894381. UPC: 798408094386. 11 x 17 inches.