Kjos String OrchestraGrade 1

Full Conductor ScoreSO265F

$6.00

Robert S. Frost

Cable Car CrossingCable Car Crossing

 Neil A. Kjos Music Company • Publisher

SAMPLE

2

SO265

The ComposerRobert S. Frost earned his B.F.A. and M.M. in Music Education from Utah State University and a D.M.E. from the University of Northern Colorado. Formerly, he has held the positions of Secretary and Orchestra Vice President of the Utah Music Educators Association, President of the National School Orchestra Associa-tion (NSOA), and President of Utah ASTA. He is active as a lecturer and clinician and has conducted honor and clinic orchestras at many state, national, and inter-national Music Education Association conferences. He is widely known for his compositions and arrangements for school orchestras, many of which are found on state and national recommended lists.

Dr. Frost retired from the Cache County School District in 1994 after 30 years as a string specialist, having taught strings and orchestra at the elementary, middle school, and high school levels. Currently, in addition to his work as a composer,

author, and clinician, he maintains a private studio and conducts the Cache Chamber Orchestra. He remains active in string education and holds membership in the Utah Education Association, National Education Association, Ameri-can String Teachers Association, European String Teachers Association, Music Educators National Conference, and ASCAP. Dr. Frost is also a member of Pi Kappa Lambda and Kappa Delta Pi national honor societies. His published works include Sacred Settings, Especially for Strings, Christmas Kaleidoscope 1 and 2, Primo Performance, Solos & Etudes 1 and 2, Viva Vibrato, All for Strings, and the highly innovative string method and curriculum, Artistry In Strings, co-authored with Dr. Gerald Fischbach and Dr. Wendy Barden. Dr. Frost has over 200 published works to his credit.

The CompositionThe dominant rhythmic figures in Cable Car Crossing are the staccato quarter notes and eighth notes. They serve

to give the piece momentum, to move it along, and are further supported by the bass, which pushes the eighth note pulse across the bar line. To highlight the harmonic interest of the piece, emphasize the C # in the melody. You can consider it a “bell” – feel free to add an accent to this note if desired. Be mindful of the legato passages between m. 29 and m. 37. Steady as she goes until m. 51. Now “hang on and enjoy!”

Performance SuggestionTo set the mood before performing Cable Car Crossing, an announcement just before playing the piece might

work well. The following script is one idea; however, feel free to create similar announcements. The suggested script should adopt the tone of a cable car engineer. Place names (underlined) could be substituted for local destinations se-lected by the students. To make the announcement more realistic, ring a bell at the beginning and end of the script:

“Ladies and gentlemen, this is a north-bound cable car train. Stops on this line include Oak Park, Farmers Market, Hillside Mall, and the Main Street Video Arcade. Next stop, Central Elementary School. All aboard!”

Instrumentation List (Set C)8 – 1st Violin 5 – Cello8 – 2nd Violin 5 – String Bass5 – 3rd Violin (Viola T.C.) 1 – Full Conductor Score 5 – Viola

Additional scores and parts are available.

SAMPLE

3

SO265

Learning Bank: The Cable Cars of San Francisco

In the 1860s, San Francisco was a difficult place to get around. Its steep and often slippery streets made it dangerous to travel, but British inventor Andrew Smith Hallidie came up with a great idea. After witnessing a devastating horse-car accident, he invented the world’s first cable car, or “trolley.” Cable cars were an amazing feat of technology, but the basis of the invention is simple. Cars are pulled without visible means of propulsion by wire cables that lie just below the street, while coal-powered stations produce the steam to pull the cables; the cars simply attach to the lines and are pulled along. Highly skilled operators, or “gripmen,” are required to smoothly control the cars. Hallidie’s innovative mode of transportation made even San Francisco’s steepest hills easy and relatively safe to travel over.

The first lines were installed in 1873, and many more followed; soon, cable cars were a fixture of the San Francisco streets. In their heyday, fifty-three miles of cable car tracks snaked their way through the city. However, the system was soon to face its first major trial. In 1906, San Francisco was destroyed by a major earthquake, and the cable car system suffered heavy damage. This catastrophe threw the entire operation into jeopardy: electric streetcars were sweeping American cities, and the earthquake gave local leaders an opportunity to adopt the newly invented, much cheaper technology. Nevertheless, cable cars proved a superior way of traversing the city’s precipitous slopes, so certain lines were rebuilt.

In the 1940s, cable cars faced another threat – buses. The may-or suggested replacing all cable lines with buses, but citizens organized to prevent the destruction of the beloved cable cars. Despite the higher operational costs, they argued that cable cars brought the city more valuable tourism and better ambi-ence. The Citizen’s Committee to Save the Cable Cars rescued the imperiled system from oblivion, and in the 1980s, all of the city’s cable lines were renovated. Today, one cannot visit San Francisco without taking a ride on the famous cable cars. They endure as a well-loved, iconic symbol of the city of San Francisco.

Photo courtesy PDPhoto.org

SAMPLE

4

SO265

Full Conductor ScoreApprox. time - 2:00

Cable Car Crossing

Allegro (q = 112 - 126)

Allegro (q = 112 - 126)

Robert S. Frost

Violins

Viola

Cello

String Bass

Piano(optional)

1

1

2

3

4

mf

2

mf

mf

mf

mf

simile

mf

© 2008 Neil A. Kjos Music Company, 4380 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A.

Warning! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter

is subject to substantial penalties and assessments for each infringement.

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

5

6 7

8

2

5

SO265

4 Cable Car CrossingFull Conductor Score Robert S. FrostApprox. time – 2:00

© 2008 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A.

WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.

SAMPLE

5

SO265

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

9

10

11

12

f

2

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

13

14 15

16

2

f

f

f

f

simile

13

f

SAMPLE

6

SO265

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

17

18

19

20

2

mf

mf

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

21

mf

22

23

24

2 mf

,

mf

mf

,

mf

,

mf

21

mf

SO265

6

SAMPLE

7

SO265

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

25

mf

26

27 28

f

,

legato

29

2 f

,

legato

f

,

legato

mf

f

,

legato

mf

f

f

legato

29

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

30

31

32

mf

, 33

2 mf

,

mf

mf

legato

mf

mf

SO265

7

SAMPLE

8

SO265

A tempo

A tempo

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

34

35

poco rit.

36

mf

37

38

2

poco rit.

mf

p

poco rit.

,

mf

p

poco rit.

,

mf

p

poco rit.

,mf

simile

p

poco rit.

37

mf

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

39

40 41

42

2

SO265

8

SAMPLE

9

SO265

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

43

44

f

45

46

2 f

f

f

f

simile

f

45

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

47

48 49

50

2

SO265

9

SAMPLE

10

SO265

Più mosso

Più mosso

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

51

poco accel.

52 53

p

54

cresc.

2

poco accel.

p cresc.

poco accel.

p

cresc.

poco accel.

p

cresc.

poco accel.

p

cresc.

53

p

cresc.

poco accel.

Vlns.

Vla.

Cello

Str. Bass

Pno.

1

55

56

57

f

58

2 f

f

f

f

f

SAMPLE

SAMPLE

SAMPLE