NAI A TON VOLUME IT of FOUR-TONE FOLIO An Album of Instrumental Quartets arranged for all string, woodwind and brass ensembles + with Piano Accompaniment + (or. Bass, Trombone, E’ Baritone Saxophone, ad libCURR NATIONAL ENSEMBLE SERIES MORE FOUR TONES (VOLUME HOF TUK YOUR TONK POLIO) An Album of Instrumental Quartets Arranged for all String, Woodwind and Brass Ensembles with Piano Accompaniment (or Bass, Trombone, Eb Baritone Saxophone ad lib.) SELECTED, EDITED AND ARRANGED BY IRVING CHEYETTE, cap, Director of Music Department State Teachers College, Indiana, Pa. AND Contents 4. The Spacious Firmament . . . . Maydn| 7. March from L’Arlesienne Suite”. . . Bizet 2. Choral from‘Bleepern,Wake” . . . . Sack | 8 Ave Maria. . . . . . . droadelt 8. Minstrel Boy... . . . » . Srinh Air ee ge eee gee 4, Deep River Be ace ected) | seep eae 6 Aria from “Orpheus”... . Gluck | 10. Loreley eo 6. Bong of Farewell... . . Mendelssohn | 1. Theme from“Ninth Symphony’ Beethoven PUBLISHED IN INDIVIDUAL BOOKS “Pour Party In Seore) ‘Violtne, Violae, Celloa Bassoons), Flutes (Oborn), fe Clarinets, Horny tn P, Bo Trumpets (Cornete), Bb Altos (Mel - lophonen), Bb Alto Baxopbonen & 4 1» Tenor Baxophone, 3 Trombones (Baritoues) aad Tubs + Price, each Book Ancompaniment Parts: Plano String Bass, Trombone and Eb Baritone Sax.,(iu ove Book)! | . Carl, Fischer Inc. Copa Yat Copyright MOMEALI by Cart Plcher In Kew York Interuational Copyright Secured =} 02880PREFACE and AUTHORS’ NOTE FOR USE OF FOLIO OF MORE FOUR-TONES Newly organized bands and orchestras are usually limited in instrumentation, also inthe degree of ability of the individual members, Such organizations are always handicapped by a lack of suitable material that will enable them to study and rehearse with the greatest possible profit, and to play creditably and musically. Most of the orchestra literature available is scored with complete instru- mentation in mind and is therefore unsatisfactory when played by organizations lacking complete choirs, The present series is the result of the increasing demand for material playable by varied ensembles as well as for quartets of the same instruments. Itisessential that the music provided for the early stages of ensemble performance be enter- taining and inspiring, and at the same time of melodic interest for each instrument, These conditions are met in the pieces found in this folio of MORE FOUR-TONES. They are such as to arouse inter- est in the players, and to develop true intonation and a beautiful singing tone, A glance at the ar- rangements will show that the books may be used effectively for concert performance as solos,duets, trios, quartets, and larger combinations with accompaniment of piano ora bass instrument, The contents of this folio have been arranged on the same plan as FOUR-TONE FOLIO, Vol. Isthat is, the melody is carried by Part A (see any of the numbers) and the harmony by Parts B,C and D. A feature of these parts is that they are printed in score, not individually as is customary. This en- ables each instrumentalist to watch and follow the parts of his fellow players while he plays his own part. Moreover, by this practical score arrangement, the groups of players are able to play all fourparts in turn, as directed by the teacher. This gives them valuable experience in the performance of the har- mony parts aswell as the melody part. Indications such as the flag, triangle and circle, added at the beginning of the lines, are intended as practical helps for attracting the player's eye to his next line. While as mentioned above, the general plan of arrangement is the same as FOUR-TONE FOLIO, ‘Vol. I, the following changes have been introduced in MORE FOUR-TONES: 1. The Flutes and Oboes have been combined in one part. 2. The BbTenor Saxophone quartet has been eliminated. 3. The Eb Alto Saxophone quartet has been changed to contain three Eb Alto Saxophones and one Bb Tenor Saxophone. 4. The Trombone quartet, has been changed to contain three Trombones and Tuba. 5. String Bass, Trombone (Baritone) and Ep Baritone Saxophone are in one book. The Tuba part is contained in the Trombone book. Any of these fundamental bass parts or the pi - ano accompaniment will complete the ensemble of all instrumental combinations, 6. Attention is called to the fact that because of the changes made in the Saxophone and Trombone combinations (see 3 and 4), these ensembles will be found complete without Piano accompaniment or the addition of a fundamental bass part. Irving Cheyette Charles J. Roberts Copyright MOMXXXUT by Cart Placher Ine, Now York International Copyright Secured euttUtility FOR CLASSROOM USE More Four-Tones (like the preceding Four-Tone Folio) provides a valuable aid as supplementary materiat ‘or classroom teaching, either in groups of the same instruments or in mixed ensembles sech ae vac finds ‘when students come up for instrumental instruction during study periods TONAL RANGES [The range of all instruments far exceeds the compass of the voices by which the instruments are — designated. For example, the violin, a soprano” instrument, has a toval compass that we greatly in excews Ste actual soprano voice, covering as it does the whole range (and more) of both alto ard soprane Every the raga tment Bes this characteristic of a double register, some of them haviog three or exee trance = the cello. sin fact makes posible an arrangement whereby any group of two, three or four instramexts ofthe vane or different Kinds can perform as an ensemble group, with each player performing a reclodieatiy interesting aera completeness of the harmonic effect increases as the number of instruments i inewased, The sae positions are arranged for four parts; A, B,C; D in score form, with the melody part always in part A Ta fendamental bass is in the piano, string bass, tba, trombone (baritone), Eb baritone saepbore oot ake > art of the cello (bassoon). The addition of the piano or any of the aforementioned instrumeste a «ive Part completes the harmonization of all ensemble groups, (See exceptions listed in Authors’ Nove? PROCEDURE Divide the class into four groups, each group playing one of the lines A,B,C, D. Play the piece throegt four times, letting each group play a different line every time. This schete will enable she players to ail ize the full range of the instrument, and will permit each group to have a chance to play the melody pare, ‘as well as all other parts, INTERPRETATION Is some of the compositions, because of the limited range of some of the instruments, the fener wikes bave Rese, srranged to sound above the melody like the first tenor part in a male quartet. For finer isuroseesne, the dynamics of the four parts have been carefully graded to procure weil balanced ervembiec cian, Then is arrived at by subduing the inner voices so that the melody may stand out as in good choral singrag. Gb serve the exprevsion marks~ they are important. in mixed ensembles, careful grading of dynamics is also important, although in such groepings the tary ig timbre (quality of tone) bas the effect of individualizing the parts, For example, a quartet consisting of 4 clerinet playing part A, « trumpet on part B, a saxophone on part C, and a trombvae en put mainte resting group of different tone-colors in which the clarinet, playing the melody, will be clearly heard. But so will the oxber instruments too, wo it is still necessary to subdue them, In a group of four sumizar lastra ments, this is even more necessary, because of the similarity of tone quality. GROUPINGS Any and all groupings may be made in theve arrangements, However, the most effective results it sised combinations wi be obtaind by Putng igher picked inate tote ae Reon at Bets, trumpets, obves, Eb alto saxophones, on the melody part Aj the alto instruments such as violas inets, trumpets, Eb alto saxophones, and horny on part B; tenor instruments such as horascelion, wom ~ bones, baritones, bassoons on part C; and baritones, cellos, bassoons, E> baritone saxophone, boras bass 8, trombonew and tubas on part D. - . ‘The experience gained by each member learning the relative importance of melodic and accompanying Parte'is one of the most valuable lessons that envemble playing can teach. 30535-0,Piano (Conductor) 02330 2655-448 1. The Spacious Firmament FJ. HAYDN (1782-1808) arn, by Cheyette-Roderte Allegro maestoso (d= 98) 3 Allegro maestoso(/ = 98) Copyright MCMXXXI by Cart Piscter Ine, New Pork, International Copyright Secared3. The Minstrel Boy Piano Piano Trish Air (Conductor) arr. by Cheyette-Roberts Andante (d= 64) _ a” 26515 -444. Deep River Veadaoten Negro Spiritual ) “one arr, by Cheyette-Roberts10 6. Song of Farewell Piano F.B. MENDELSSOHN (Conductor) (1808-1847) arr. by Cheyette-Roberte eres 26518-187. March from“L Arlesienne Suite” @. BIZET Plano (1838-1875) (Conductor arn, by Cheyatte-Roborte Tempo di Marcia (d: 92) se Tempo di Marci poco rail - poco rall. 26548-44a 9. Theme from“First Symphony” Piano JOHANNES BRAI (Conductor) (1833-1897) arr, by Cheyette- Roberts Anogeo moderato(d = 88) a Allegro moderato (J = 88) 2 —=_> — en 2e6ts-4810. The Loreley P. SILCHER Piano (Conductor) (0789-1860) arr. by Cheyette- Roberts 73) Moderato mph Moderato (#- 72) 20548-44THE FAMOUS 4-TONE FOLIOS THREE ALBUMS OF INSTRUMENTAL QUARTETS ARRANGED FOR ALL STRING, WOODWIND AND BRASS INSTRUMENTS AND PLAYABLE BY ANY MIXED ENSEMBLE » » » » Braemar Selected, Edited and Arranged by IRVING CHEYETTE, ep.p. and CHARLES J. ROBERTS The 4-TONE FOLIO HIS folio contains thirteen numbers for all mering, woodwind and brass ensembles, as well a8 for quarcets of the same instrument. Every number is s0 arranged that the melody falls io part A, the harmony in parts B, Cand D, ‘The fundamental bass, a fifth part, is in the Tuba, Sering Bass and Piano parts,'as well as in the D part of the Cello, Trombone, Baritone, Bassoon and Horn. Any fundamental bass will complete the harmonization for ensembles lack- MORE 4-TONES THE same plan of arrangement (4 parts ia score fort) Ha been cated ost is tha ee the #Tone Folio, Certain changes have, how- ever, been made in the instrumectal grovpiogs. Flutes and Oboes sre ia one book. ‘The Saxo: phone and Trombone quarters are now complete, sequiring ‘no piano or fundamental bass ‘The fundamental bass parts—String Bass, Trom- bone and Eb Baritone Saxophone—are in one book. ing a plano part. CONTENTS: Ais de Ballet from “Alene, Glack— March ofthe Men of Harlech, Walsh dino, How 2 Rove Ber Bioonicg, PratenaeFilandia (lottoduction, to Se i ng Can Erin Choral om “Bre Messenger” Wega octend, Rebs “Wianiog Cookie, BakeDays of Wonder, Hade—Go Down, Moves, Nig Spineat—Bveniog and Moring, ritina The. Crsler, Cilman- Individual Books (Four Parts ig Score) for: Violins, Vi than Colts, Plates, Oboes (C Melody, Saxophones), Bb CONTENTS: The Spacious Fimament, Hapde—Chorst fiom Slespers Asie? Boch Mircel Boy” tub tae Beep River Rege Sprtueaia om" Orpben’s len Step of Buewd, Mrdiivabe Maceh Groat Acésecac™ Floss Weer" Locey, Side These hes Na Sym Hook Ror torr, Side Thene tom Nath pa Iodivdaa Books Pow Pu ip, oe: fo Vin ols Cll (Bavsoas), Fars (Obosr, Bb Claroee, Hoi ge ra Bs Nn ie mt Oe et te Mey gscathoncr Horas 3. Eb Alto Serophoney 40d 1 Db Tenor Serophooe, 9 Trom- Se BB Trompea Emer, Eb Avr iallpsoncs— bones Buco) and Tobs, Bat ta Hse tae Bans Prego foc $0 Accon | ose a rice, exe \ccompaniment parts: Je Se Pree coe Sirlog Bese or Vas each 300 oe Se Owin, the increasing demand for moderately difficult sgeemble music of thi yey thie hame of For Tones has now been pubhshed.. Like the other two Tone eto canted mune from oytnphony, oratorio, Tong livercure, and ope, ved Chora VayTh tes ; Fore tat Steg Bile att Ae Watt Cae eee pref anon Eagle, foie Evening Song verrucae td Pcs nae fr More fous Toe Care FiscHer, Inc. (COOPER SQUARE » NEW YORK Boston: Metropolitan Theatre Kimball Hall: Chicago Se} (L) Printed ta U.S.A.