Mozart & Beethoven are "Haydn" in the Music Arranged or String Orchestra and Piano Frank Rodgers INSTRUMENTATION Gonductor Score Piano 1=t violin 2nd

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1 tr EI l- il [] M EI EI trl M tr ta trl IE H [E H td El re H [-E El!-c tr SO-294 Grade 1 Easy $45.00 Extra Score $8.00/Extra Parts $4.00 Mozart & Beethoven are "HaydJ'r" in the Music Arranged or String Orchestra and Piano By Frank Rodgers Copyright 2005 Co Crownsgate C ircl e, Ger antown, MD. 208'7 4 All Rights Reserved - Printed in USA tretretr@tr@trtrtretr@ tr r M tr

2 Mozart & Beethoven are "Haydn" in the Music Arranged or String Orchestra and Piano Frank Rodgers INSTRUMENTATION Gonductor Score Piano 1=t violin 2nd violin Viola Gello Bass About the Coposer Frank holds two college degrees, a Bachelor o Music Education (Violin Concentration) ro lndiana University School o Music and a Master o Science Degree in School Adinistration ro Old Doinion University School o Education. ln addition, he was a proessional violinist with the Virginia Syphony Orchestra or 30 years and continues peroring in a chaber orchestra and string quartet. He has dedicated his writing talents to coposing pieces or beginning string orchestras that are un, easy, and entertaining. Over 90% o his works are original and delightully entertaining. He considers his pieces to be thought o as "usical desserts"; pieces you do not want to overuse, but nonetheless use appropriately. Most o his o pieces are intentionally designed in such a way that practically all students will experience substantial success the irst tie they begin their study. Again, one ust reeber the real purpose o these works is to insure the students "instant success" the very irst tie they are introduced. Frank irly believes, instant success is a great otivator and a huge conidence builder which will hopeully encourage the to have the conidence and desire to accept the challenge to study works o a ore scholarly nature. To keep things siple, Frank intentionally avoids using slurs as well as low and high ingers, as they tend to draatically slow down the desired ast learning curve he hopes the students will achieve. Once again, his ain goal is to otivate, not coplicate. Each piece has a "Foreword" section which outlines the piece and provides teaching tips and suggestions. ln addition, each piece has a Treble Cle Viola partwhich can be used as either a 2nd violin part or as a eans o augenting your viola section. is proud to carry Frank's ull copleent o usic and looks orward to his new works

3 Mozart & Beethoven Are "Haydn" In My Music F'ORF'WOR) Indeed, Mozart & Beethoven are Haydn (hide'n) in this whisical potpourri o usical shenanigals and are ixing it up with a lot o other "outside" copaxy. The hardest part or you and your students is to try and rerain ro bursting out in uncontrollable laughter when playing this piece. I think Victor Borga, the great classical pianist who did usical coedy at the keyboard, would give his stap o approval to this work. You ad your students will rop ttuough excerpts ro well-known thees o Mozart ( Syphony No. 40, 1st vt.), Beethoven (Syphony No. 5, last vt), and Haydn ("Surprise" Syphony No. 94, 2nd vt). Interspersed aong all this serious usic is soe usical buoolery and rschie-niaking o y own. I sprinkled in soe zany bits ro "This Old Man", "Jingle Bells", and the traditional "Shave and a Haircut, Two Bits". The "A" tee, "B" thee, and "Fanare" are o y own concoction which are designed to ail soe additional levity to this "Musical Coedy". THE PBRIORMANCE TEMPO SHOULD IiE BRISK AND HAVE A FEDLING OF TWO. Musical Thees (Order o Appearance and Brie Description) Opening, "A" Thee (eas 1-12) This opening thee should have a cartoonish like character to it. Bass players should play their notes, short (staccato) and slightly accented. "Shave and a lailcut" (eas 15-16) Gives ahilarious cadence to the "A' thee. As al option you nray wart to consider adding soe ischie o your own on the 1st beat o eas. no. 16, That rest just begs or soe additional uiayhe therc. You ay want to consider a 'lolice whistle", a slide whistle, a tone block, a "ratchet" or a kazoo. I' ccrl"ain you can coe up with additional ideas o your own. In a pinch, you could have your kids "stop" their eet. "anare" (eas 17-20) Every section o the orchesta gets to ake a "solo" entrance here. Have students pay close attention to the dynaics. "B" Thee (eas 21-28) In this lively thee, ttre vlns/vlas need to play the eight notes short & crisp. Il easure no.25, the lower strilgs introduce athee o their own.in conrast to theprecediug thee, this thee should have a heavy, orceui character to it. Violins accopany this thee with a 4th inger pizzicato. Beethoven 5th Syphony (last vt) (eas 29-31) This thee should sound ull and have a "ajestic" quality and expansive charac[er. "Sutprise Syphony" Thee ro tlaydn Syphony No.94 (2nd vt.) (eas 32-39) This syphony was nick-naed the "Surprise" syphony or the spontaneous loud chord (eas. 40) that all o a sudden appears ater a very sot opening thee. As the story goes, Haydn used this as a huorous eans to "wake up" ebers o his audience (usually en, sorry guys!) who had a tendency to dozl o during his ater diruier concerls, palicularly in sot sections o his rnusic. I irdicated this chord by writing "Surprise" in the score and all the string parts. Be sure to tell your students to put a "Heavy Sackdown" on this 'tsad Boy"! You ay want to get a recording o this work to play and discuss with your students. It's very iportant that the students begin eas. no. 33 SOFTLY as indicated. 'hee ro Mozart Syphony No.40 (1st vt.) (eas4042)lower strings ust play ttreir notes very short and well accented. Violins ust pay particular attention to the staccato quarter notes where indicated. "This Old Man" (eas4344) This excerpt is the last 2 bars o this well known song. The notes on beat one o eas. no. 44 are correct. I replaced the raditionald 614 chord with a ore odern sounding "A-13" chord. Modiied Recap o "A Thee" (eas 45-end) This recap oers ttre violins an option to really "strut their stu '. For your violinists who want a little ore challeuge in their playing, they have the opportunity to play the 'A Thee" in the style o oto perpetuo. This is accoplished by playing each quarter note as 2 eighttr notes. You could eature these students by having the stald as they play this pat. Students who e not qulte ready or this can style play the regular quarter notes. In easure no. 53 all violins will play the quarter notes as written. Just to inject a Iittle ore huor here, I have the violas playing the irst two easures o "Jingle Bells" at the beginning o the "recap". As they say down Souttr, that's a real hoot!

4 Page2 Technical Requireents NOTES AND FINGERINGS: Basically, i your students can read the notes o a one octave 'D'Major scale, they are,'good ro go" with this puppy. There are no low 2nd linger notes or other cluoatically altued notes, so save your Tus or arother dayl Violas have soe notes on ttle "G" String, but they are thoroughly edited in the parts' As a atter o act, the ingeriugs in all ttre string parts re ttroroughiy edited in an eort to help those who are having soe dirculty in readilrg notes. This serves a dual purpose; (1) it saves you ro having to use valuable instructional tie to stop and write in the hngerings and (2) it spares the slower student the ebarrassent and soetie the ridicule (ro classates) ro having to be singled out or special attenlion. RIIYTHM: A11 rhyth patterns in this piece should be copatible with aly irst year ethod book. Your students should have begun the study o eighth notes beore playing this piece, BOWING: Most o this piece utilizes the basic ddtachdstroke. Occasionally there wili bc tines when a slaccato aul an accerted bow srroke are nccessary and are either used separately (See eas. no. 15) or in cobination (See eas. no. 40). Furtherore, there are NO SLURS to curl your toenarls! Soe Huble Suggestions You May Want to Consider (1) I you play this piece ou a concert, I niight suggest that prior to peroring it, have the orchestra play each othe excelpts I entioned above. That way your audience receives soe education in what to listen or, ard hopeully have a better understalding o the piece they will be listening to. Your sl.udents will eel iportart because T[{EY ARE TEACHING AND EDUCATING THE AUDIENCE. Kids really love doing that type o stu. (2) You ay wart to consider haviug three dierent studerts pose as Mozart, Beethoven and Haydn, Each one akes soe VERY BRIEF coents to the audience that are unique or interesting about the coposer ald his works. Why was Syphony No. 94 nicklaed the "Surprise Syphony"? For Mozart, you can repeat thal. aous "supennan" saying which rhyes with the thee, "It's a Bird, It's A Plane, No it's Mozart". For Beethoven, you could ention that he was, or aji practical pruposes, totally dea when he coposed and conducted his nonurrental 9th Syphotty. (3) I strongly urge you to consider using soe type o whistle or percussion device on the irst beat rest in eas. no. 16 o "Shave and a Hailcut". The ore bizarre, the better! This will really shake up the audience and probably scare the "beejabbers" out o the. Justhope the restroos are not too ar away! In esseuce, it's you and your kids playing aharless ntusical prank on the audience. It'll be un and interesting to see and hear Llieir reaction. Why Should I Consider Purchasing this Piece? First o all, the coposer needs the oney! How's that or honesty ard truth in advertising?! All joking aside, Mozart & Beethoven are "Haydn" In M y Music is al extraordinarily entertaining piece with popular thees rorn a variety o sources. Furtherore, It is painstakingly designed to be quite doable by a very young orchestra in a relatively short aount o tie. Most o all, everyore will have a ton o l.ur learning and peroring it. It just does not gel auy better than that y riends. Students like to play things that are un a ailiar to the. Audiences tend to respond well to things that are ailiar to thern. The thees in this piece e inteutionally ananged in such a anner to invoke huor and proote laughter while at the sae tie exposiug your shldents to soe thees o the great asters. Thereore, you truly have a win/win situation with this piece. I would hope you would ind tie to play recordings o the classical works or your class. They will be so proud o the act they are able to play soe o the thees the '!ros" play. What a terriic way to generate exciteent aong your sildents or classical usic! Most iportantly o all, I a con,rdent this piece will help you achieve the goal o otivating and encouraging your students to continue their orchestral playing or years to coe. This is a goal worthy o all our very best eorts. With best wishes and warest regards to you and yottr students, Frank M. Rodgers

5 Mozart & Beethoven Are "Haydn" n My Music! For String Orchestra Allegro ) = rz (A eeling o 2) By Frank M. Rodgers lt Lttegro) = ttz "A Strg" ---J

6 Mozart & Beethoven Are "Haydn" In My Music! "Shave and a Haircut" Violas/Cellos/Basses Short! It V n V lr Short! r! v n Y l, x Optioual: Use either a whistle or tone block on 1st beat o rneas. no, 16.'FANFARE'' *FV l V l8t!v Short! n V - Y lr "Shave and a Haircut" l5 [Violius/Violas]

7 Mozart & Beethoven Are "Haydn" In My Music! Conductor Scorc FYE v-tt 1.1 v EV -vlt vnv IViolins/ViolaVCe llos] V.v 4 Letltd.PlZZ * 4 LerHcl,PlZZ +.. LIFTBOW F v -'-'-"", l.t V LIFT BO\1' I

8 Vln. Vla. Vcl. cb. Piano zl LeltHd.P\ZZ Mozart & Beethoven Are "Ilaydn" In My Music! I + n Y 5 YFt - Y syll VTY It V nvlr Thee ro thc "Surprise" Syphony/Ilaydn SOFT! ll YiolaVCellos/Basses vny vllv T-1T C a2 Thee ro Syphony No' 5/Beethoven Er 30g " - (4) - n,/ro"*" Svnr No. S/Ileethoven o' 1 -J + 1t-+ >r; + * p 3l EYn, o43l LIFT BOW ) LIFT BO}V P Thee ro the "surprise" Syphony/laydn 4

9 \/ln. il' I 1 36 tl Mozart& Beethoven Are "Haydn" In My Music! 38 (Appears in all Parts) SurPrise! l!, llt - ) ->) Vla. \/cl. cb. P FT - I p i P aao 4+ l"" ro Syphony No.40/Mozart 1 Short&Accented T / - Slro., &Accented =* =E == > 37 I - U E P a p v + Y 11t ) "This Old Man" E I +,? lr1 [r "l' :> nve rrr"1-" ro Syphony No' 40/lVlozart "This Old Man"

10 Mozart & Beethoven Are "Haydn" In My Music! Optional: Play 2 eighth notes or each quarter note "Jingle Bells" (Vlas. OnIY) EvnYn F!VE "A Strg"

11 Mozart & Beethoven Are "I{aydn" tn My Music! -Vll ye V llvnvn