All the Pretty Little Horses
Fantasy for Strings
by Douglas Townsend
String Orchestra - Sheet Music

Orchestra String Orchestra - Medium Easy/Medium

SKU: CF.CAS4

Fantasy for Strings. Composed by Douglas Townsend. This edition: full score. Carl Fischer Concert String Orchestra Series. Classical. Score and Parts. With Standard notation. 16+16+10+5+5+4+4+12 pages. Carl Fischer Music #CAS4. Published by Carl Fischer Music (CF.CAS4).

ISBN 9780825844904. UPC: 798408044909. 8.5 X 11 inches. Key: D minor.

I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The songA All the Pretty Little HorsesA is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy onA All the Pretty Little HorsesA is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of theA divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The songA All the Pretty Little HorsesA is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy onA All the Pretty Little HorsesA is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of theA divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly assist his brother, and steal with decency from one another. The present version is a composite, which has been modified and rearranged to suit present-day needs. II - Thoughts about the Fantasy While the Fantasy on All the Pretty Little Horses is based on the well-known melody, there is also a secondary melody, which serves as a counterpoint to the folk tune (see for example mm.2-10 and mm.22-25). Melodic fragments of the folk tune are also developed and evolve into something new. The four sixteenth notes in mm.37 and 38 are derived from the third measure of the folk tune itself, and notice the melodic relationship to the first few notes of the original tune. Similarly, the sixteenth-note figures from mm. 48 to 57 are an inversion of the scale passage of the original melody at m.3 No undue emphasis need be placed on these passages, or similar passages, although it was felt that some understanding of the relationship between melody and counter-melody and thematic development would be of some interest to the conductor and performers. The piano part is included primarily for rehearsal use in bringing out or reinforcing specific parts, and should be used in performance only if the third violin, viola or cello parts are weak or if a bass part needs to be strengthened. This piece can be performed by a solo string Quartet if desired by omitting the low part of the divisi sections. - Douglas Townsend.
I - Some Thoughts about the Song One of the chief differences between the Art Song and the Folk Song is that in the former the name of the music and text generally evolve over a period of time as a kind of cultural artifact of a people. In the folk song, new words are constantly being added to or subtracted from older ones as the times and locale require. The song All the Pretty Little Horses is a fine example of the origin and development of a folk song, which appears to have begun its life as a lullaby sung by slaves from about the time of the Civil War. The first verse of the song was much the same as the one we sing today but the melody was completely different. As the song became more popular and people moved about the country, new verses were added or replaced older ones thereby occasionally adding an underlying emotional content, which may not have existed in the original text. Additional music was sometimes added to the new words (or even individual syllables), which probably developed spontaneously as the need arose. Enter the compiler and folk song collector. not infrequently it happened that they were faced with several different versions of the same song. In preparing their collections it was sometimes necessary to combine two or more different versions of a song into one, thereby creating a third version, which they hoped would give the essence of the regional differences and at the same time be a unified song in its own right. In making their compilations, the collectors may have facetiously had in mind the saying of the 18th century writer who said that Poets and painters to which we would add compilers, who derive their inspiration from nature ...should neighborly ...

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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians