First 50 Melodies You Should Play on Guitar

SKU: BT.MUSAM1010658

ISBN 9781783059829. English.

With the Really Easy Piano Playalong songbook, you can learn 19 Classic Hit Songs with these simplified arrangements for Easy Piano, then use the included download card to hear demonstrations and backing tracks that you can play along to. Featuring a wealth of some of the most famous tunes of all time by the greatest singers and songwriters ever, these Classic Hit Songs  are essential playing for all pianists, and the Really Easy Piano Playalong book lets beginners immediately pick up these wonderful melodies. From classic pop songs like All Shook Up, Downtown and Waterloo to those beautiful ballads like Rocket Man, Hallelujah  and Fields Of Gold, this collection offersamazing variety of tunes that can be placed right at beginner pianist's fingertips.  With the accompanying download card, you will get instant online access to fantastic-sounding demonstration and backing tracks for each tune. This means you'll be able to hear how each Classic Hit Song  should sound, then learn them using the easy-to-read sheet music, before playing your own versions along to the backing tracks. With songs by such bestselling artists as Simon & Garfunkel, The Beatles, David Bowie and Louis Armstrong, this is a fantastic book for learning all of those timeless tunes that everyone loves, and with the help of some fingering hints, performance tips, lyrics and fascinating background information, the Really Easy Piano Playalong really is the perfect songbook for pianists who love pop hits. The fantastic selection of brilliant songs from these wonderful musicians places some of the greatest tunes of all time at any beginner pianist's fingertips. Your friends and family will no doubt be wholly impressed with how great each of these songs sound on the Piano, especially when played along with the backing tracks. For a collection of 19 Classic Hit Songs,  look no further than the Really Easy Piano Playalong  songbook.

SKU: AI.AMC-WB-003SSC

8.5 x 11 inches.

The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.

The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.

This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.

SKU: AI.AMC-WB-003

The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.

The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.

This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.

SKU: AI.AMC-WB-003SCO

11 x 17 inches.

The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.

The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.

This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.

SKU: CF.FAS9

ISBN 9780825844768. UPC: 798408044763. 8.5 X 11 inches. Key: D major.

This gentle arrangement of the Christmas classic Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring. Performance Time: 1:55.
This gentle arrangement of the Christmas classicA Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring. Performance Time: 1:55.
This gentle arrangement of the Christmas classic Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring. Performance Time: 1:55.
This gentle arrangement of the Christmas classic Silent Night will help young string players in the development of legato playing. All countermelodies must be balanced with the main theme. The eighth notes should be played evenly in a legato style. If the students have good bow control it is recommended that slurs be used for each measure of eighth and quarter notes as in the Violin II/Viola part at the beginning. If students are not advanced enough to play the slurs, have them play as legato as possible without slurring.Performance Time: 1:55.

SKU: CF.PPS49F

ISBN 9781491152614. UPC: 680160910113.

Exemp lary is a mature musical piece for beginning bands. Even though only the first six notes of the Bb-major scale are used with simple rhythms, students and teachers will find many, fun musical challenges that provide opportunities for for growth. As the title suggests, performances of Exemplary should serve as a desirable model, be worthy of imitation, and should represent the absolute best in musicianship.
Exemplar y is a mature musical piece for beginning bands. Even though only the first six notes of the Bb-major scale are used, and simple rhythms are used to compose this piece, it has many musical challenges that will enhance students’ musical growth. There are some very musical ideas and sections in this piece that should be explored. Just as this title suggests, Exemplary should serve as a desirable model, be worthy of imitation, and should represent the best possible example of its kind. If you describe something as exemplary, it should be extremely good. With all of these challenges, the piece also has some nice melodies and is fun to play.  Notes to the ConductorThere are marcato and legato styles, many dynamic markings (sometimes different between woodwinds, brass, and percussion) major and minor third intervals, and challenging beginning percussion writing (that should not be overplayed). Four-measure phrasing should be observed. When a crescendo occurs, it should connect to the next note without taking a breath. These are teachable concepts that will benefit the musicianship of the students and take them to a higher level of performance.  .

SKU: CF.PPS49

ISBN 9781491151938. UPC: 680160909438.

Exemp lary is a mature musical piece for beginning bands. Even though only the first six notes of the Bb-major scale are used with simple rhythms, students and teachers will find many, fun musical challenges that provide opportunities for for growth. As the title suggests, performances of Exemplary should serve as a desirable model, be worthy of imitation, and should represent the absolute best in musicianship.
Exemplar y is a mature musical piece for beginning bands. Even though only the first six notes of the Bb-major scale are used, and simple rhythms are used to compose this piece, it has many musical challenges that will enhance students’ musical growth. There are some very musical ideas and sections in this piece that should be explored. Just as this title suggests, Exemplary should serve as a desirable model, be worthy of imitation, and should represent the best possible example of its kind. If you describe something as exemplary, it should be extremely good. With all of these challenges, the piece also has some nice melodies and is fun to play.  Notes to the ConductorThere are marcato and legato styles, many dynamic markings (sometimes different between woodwinds, brass, and percussion) major and minor third intervals, and challenging beginning percussion writing (that should not be overplayed). Four-measure phrasing should be observed. When a crescendo occurs, it should connect to the next note without taking a breath. These are teachable concepts that will benefit the musicianship of the students and take them to a higher level of performance.  .

SKU: CF.YAS159

ISBN 9781491143742. UPC: 680160901241. Key: E minor.

Dorian Dialogue is a concert piece for string ensembles set in the Dorian mode. The original melodies are evocative of English folk melodies. The first theme is rustic in nature and performed with gusto, while the contrasting second theme flows in a singing style. A perfect selection to highlight your ensemble in festival performance and help you teach simple sixteenth note figures.
Dorian Dialogue is a concert piece for string ensembles with at least two years of instruction. Owing to the setting in the Dorian mode, the melodies, while original, may strike some as being evocative of English folk melodies. The first theme is rustic in nature and should be performed with gusto. The contrasting second theme (m.38) should flow in a singing style. Balance is critical when the two themes are heard simultaneously beginning in m. 54. First violin players who are capable of playing 8va at mm. 57–61 should do so at the “optional” indication.

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: CF.CPS264

ISBN 9781491161418. UPC: 680160920006.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh”) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

SKU: CF.CPS264F

ISBN 9781491161746. UPC: 680160920433.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh”) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

SKU: CF.YAS33

ISBN 9780825858468. UPC: 798408058463. 8.5 X 11 inches. Key: G major.

A walk through the park or a morning stroll through the forest is what this piece best calls to mind. With its pastoral setting and lush melodies, Velvet Morning will truly showcase your group's mastery of legato playing.
Velvet Morning is a warm and colorful work for string orchestra. Please play con sordino if available. The music is a reflection of my love for the orchestral music of Barber, Ravel, Debussy and Satie. It should have the same sense of passion and intensity that those masters employ in their music.The opening tempo is marked rubato, and should speed up then slow down based on the phrases. The main melody appears at m. 11 in the first violins and should have a flowing quality. The harmony does utilize some slight dissonances from time to time which should be emphasized. The violas and cellos take over the melody at m.19 with a counter line in the violins. The melody returns to the violin at m. 27 with a pianistic cello line punctuated by pizzicato in the bass. Some transitional material follows that builds up to a full presentation at m. 47. Let the ensemble open up here with an intense, full sound. This winds down to a return of the introduction at m. 60. The ending should be tender and deliberate all the way to the last plush chord.

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: CF.YAS33F

ISBN 9780825858475. UPC: 798408058470. 8.5 X 11 inches. Key: G major.

A walk through the park or a morning stroll through the forest is what this piece best calls to mind. With its pastoral setting and lush melodies, Velvet Morning will truly showcase your group's mastery of legato playing.
Velvet Morning is a warm and colorful work for string orchestra. Please play con sordino if available. The music is a reflection of my love for the orchestral music of Barber, Ravel, Debussy and Satie. It should have the same sense of passion and intensity that those masters employ in their music.The opening tempo is marked rubato, and should speed up then slow down based on the phrases. The main melody appears at m. 11 in the first violins and should have a flowing quality. The harmony does utilize some slight dissonances from time to time which should be emphasized. The violas and cellos take over the melody at m.19 with a counter line in the violins. The melody returns to the violin at m. 27 with a pianistic cello line punctuated by pizzicato in the bass. Some transitional material follows that builds up to a full presentation at m. 47. Let the ensemble open up here with an intense, full sound. This winds down to a return of the introduction at m. 60. The ending should be tender and deliberate all the way to the last plush chord.

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: CF.YAS75

ISBN 9780825869600. UPC: 798408069605. 8.5 X 11 inches. Key: D major.

Bassist and string educator/composer George Sweet is a new addition to the Carl Fischer Music team. His music is fresh and unique, and Duncan's Tale is an enjoyable work with infectious rhythms and interesting melodies. It contains some nice harmonic twists that will really engage your students in the piece. We are proud to have the music of Mr. Sweet in the Carl Fischer Music catalog!.
Duncan’s Tale is the story of a small Cairn Terrier who gets into various forms of “household mischief” while his owners are away. The piece offers the viola section a chance to play much of the primary melodic material, as opposed to purely accompaniment. Make sure that the accents in the main theme at m. 3 are played with full value. This provides a contrast to the staccato notes that accompany them. The melodic section that follows at m. 13 should be played in a warm legato style, contrary to the other sections. This is the point where the violas enter for the first time with the melodic material. At m. 21 a denser variation of the theme leads to an abrupt “half step” modulation. The viola interjections should be played with a “fiddle-like” quality. The piece then returns to the original material before fading out on the ostinato pattern that opens the piece. The final pianissimo pizzicato note represents the point when the “adventures” are over, as the owners have returned and Duncan hides.

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