(Tenor Sax). Arranged by Various. For Tenor Sax. Book; CD; Instrumental Series; ...(+)
(Tenor Sax). Arranged by
Various. For Tenor Sax.
Book; CD; Instrumental
Series; Play-Along. Top
Hits Instrumental Solos.
Broadway; Movie; TV.
Grade 2; Grade 3. 76
pages. Published by
Alfred Music
Orchestral Repertoire Complete Parts for Cello from the Classic Masterpieces, Vo...(+)
Orchestral Repertoire
Complete Parts for Cello
from the Classic
Masterpieces, Volume 4.
For Cello. Masterworks;
String - Cello
Collection. Kalmus
Edition. Masterwork.
Book. Published by Alfred
Music Publishing
Piano SKU: HL.48025503 Piano. Composed by Jacques Offenbach. Edite...(+)
Piano
SKU:
HL.48025503
Piano. Composed by
Jacques Offenbach. Edited
by Jean-Christophe Keck.
BH Piano. Classical.
Softcover. 28 pages. Bote
& Bock #M202538807.
Published by Bote & Bock
(HL.48025503).
ISBN
9783793145776. UPC:
196288300458.
Offen
bach, who came to Paris
at the age of 14, gave
concerts as a cello
virtuoso and composed for
salons and dance halls
before achieving world
fame as the inventor of
the “Offenbachiade”.
However, writing waltzes,
mazurkas and polkas not
only provided him with a
good technical basis, it
was also a perfect
vehicle for making a name
for himself in the
Parisian music world. La
Jeunesse de Berlin is one
of the first waltz suites
that Offenbach composed
for one of the legendary
Parisian entertainment
establishments, the
“Turkish Garden”. It
was only published in a
very small edition.
Neither biographers nor
catalogs mention the
charming work. Until the
French researcher and
collector Jérôme
Collomb found a copy of
the first edition for
piano and thus made this
new publication
possible.
Cello - Early Intermediate SKU: FH.VC4 Cello Series, 2013 Edition....(+)
Cello - Early
Intermediate
SKU:
FH.VC4
Cello
Series, 2013 Edition.
Composed by The Royal
Conservatory. Cello
Series, 2013 Edition.
Book/CD. The Frederick
Harris Music Company
#VC4. Published by The
Frederick Harris Music
Company (FH.VC4).
ISBN
978-1-55440-540-4.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Concertos,
Sonatas, and
Suites: Sonata in D
Major - Caldara, Antonio
arr. Gyoergy Orban -
First Movement:
Adagio - Second
Movement:
Allegro Sonatina in D
Minor, WoO 43a -
Beethoven, Ludwig
van Sonatina in G
Minor - Matz, Rudolf -
Second Movement Sonata
in F Major, op. 1, no. 1
- Marcello,
Benedetto - Third
Movement: Largo -
Fourth Movement:
Allegro Concertino No.
3 in A Major - Breval,
Jean-Baptiste arr. L.-R.
Feuillard Concert
Repertoire: The Easy
Winners - Joplin, Scott
arr. Forrest
Kinney Orientale, op.
50, no. 9 - Cui,
Cesar Bonjour
tristesse - Hart,
Paul Hip Hip Bourree -
Jacobson,
Julian Elfentanz -
Jenkinson, Ezra arr.
Carey Cheney Chanson
de matin, op. 15, no. 2 -
Elgar, Edward Cello
Sonata in G Minor, op. 65
- Chopin, Frederic -
Third Movement:
Largo The Swan Sees
his Reflection - Forsyth,
Malcolm Spanish Dance
- Adorian, Andrew Baby
Blackbird, Fly Now -
Silverman, Adam
B. Unaccompanied
Repertoire: Suite for
Violoncello (Lights and
Shadows) - Matz,
Rudolf - Second
Movement: Cantabile -
Eighth Movement: Finale
giocoso Ricercar No. 1
- Gabrielli,
Domenico Suite NO. 1
in G Major, BWV 1007 -
Bach, Johann
Sebastian - Seventh
Movement: Gigue.
Violoncelle [Partition + Accès audio] - Facile Music Minus One
Book with Online Audio. Composed by Various. Music Minus One. Baroque, Classical...(+)
Book with Online Audio.
Composed by Various.
Music Minus One. Baroque,
Classical Period and Play
Along. Softcover Audio
Online. 32 pages. Music
Minus One #MMO3726.
Published by Music Minus
One
Composed by
Evan Hause. E.B. Marks.
Classical, Contemporary.
Softcover. 16 pages.
Edward B. Marks Music
#EBM236316. Published by
Edward B. Marks Music
(HL.236316).
ISBN
9781495096228. UPC:
888680695699.
9.0x12.0x0.086
inches.
Rock and
jazz sounds mingle with
classical tradition and
modern techniques in
Hause's virtuoso cello
suite. In Fish Heaven, an
arpeggiated texture
reminiscent of Bach's
cello suites expands
along a quasi-Gospel
chord progression. In
Crabs on Parade, the
contrapuntal technique of
crab canon is rendered in
a pizzicato texture
drawing upon guitar
technique. In five
movements: 1. Man O' War,
2. Atlantis, 3. Sea
Serpents, 4. Fish Heaven,
5. Crabs On Parade.
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC5. Published
by The Frederick Harris
Music Company (FH.VC5).
ISBN
978-1-55440-541-1.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Concertos,
Sonatas, and
Suites: Concerto in D
Major, op. 213 -
Mendelssohn, Ludwig -
First Movement: Allegro
moderato Concertino
No. 1 in F Major -
Breval, Jean-Baptiste
arr. L.-R. Feuillard -
First Movement:
Allegro Suite in G
Major - Matz, Rudolf -
Fourth Movement -
Fifth Movement Sonata
in G Major - Bach, Johann
Christoph Friedrich arr.
Hugo Ruf - First
Movement:
Allegretto Sonata in C
Major - De Fesch, Willem
arr. Jason Noble -
First Movement:
Largo - Second
Movement:
Vivace Sonata -
Marcello, Benedetto arr.
Alfred Piatti - First
Movement: Largo -
Second Movement:
Allegro Sonata in F
Major, RV 41 - Vivaldi,
Antonio arr. Kathleen
Wood - First Movement:
Largo - Second
Movement:
Allegro Concert
Repertoire: O Canto Do
Cysne Negro -
Villa-Lobos,
Heitor Frogs Dancing
on Water Lilies -
Mustonen,
Olli Langsam, op. 102,
no. 2 - Schumann,
Robert When Music
Sounds - Coulthard,
Jean Wie einst in
schoener'n Tagen, op. 64,
no. 1 - Popper,
David Bourree, op. 24
- Squire, William
Henry Notturno, op.
59, no. 1 - Goltermann,
Georg Scherzo and Trio
- Reger, Max Lamento -
Faure, Gabriel Lied -
Rachmaninoff,
Sergei Unaccompanied
Repertoire: Capriccio
No. 5 - Matz,
Rudolf Ricercar No. 3
- Gabrielli,
Domenico Suite in C
Major - Matz, Rudolf -
Fourth Movement:
Sarabande - Seventh
Movement: Gigue Suite
No. 1 in G Major - Bach,
Johann Sebastian -
Third Movement:
Courante.
Cello - Early Intermediate SKU: FH.VC3 Cello Series, 2013 Edition....(+)
Cello - Early
Intermediate
SKU:
FH.VC3
Cello
Series, 2013 Edition.
Composed by The Royal
Conservatory. Cello
Series, 2013 Edition.
Book/CD. The Frederick
Harris Music Company
#VC3. Published by The
Frederick Harris Music
Company (FH.VC3).
ISBN
978-1-55440-539-8.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Baroque and
Classical
Repertoire: Trio
Sonata in D Minor (La
Follia), RV 63 - Vivaldi,
Antonio arr. arpad
Pejtsik Sonata in F
Major, TWV 41:F2 -
Telemann, Georg Philipp
arr. Kathleen Wood -
First Movement Sonata
in D Major, HWV 371 -
Handel, George
Frideric - Third
Movement Suite No. 3 -
Caix d'Hervelois, Louis
de arr. L.-R.
Feuillard - Eleventh
Movement: Musette (La
Brantes) Ave Verum
Corpus (Hail, True Body),
K 618 - Mozart, Wolfgang
Amadeus arr. Jason
Gray Concertino No. 5
in D Major - Breval,
Jean-Baptiste arr. Pierre
Ruyssen - First
Movement Traditional
and Romantic
Repertoire: Norweigian
Dance, op. 35, no. 2 -
Grieg, Edvard arr.
Christine
Donkin Prelude in B
Minor, op. 28, no. 6 -
Chopin, Frederic arr.
Jason Noble El cant
dels ocells (Song of the
Birds) - Catalan
Christmas carol arr.
Jason Gray On Wings of
Song, op. 34, no. 2 -
Mendelssohn,
Felix L'elephant (The
Elephant) - Saint-Saens,
Camille Standchen
(Serenade), D 957, no. 4
- Schubert,
Franz Repertoire
Composed After ca
1930 My Blue 'Cello -
Gout, Alan Rondo -
Matz, Rudolf Just
Passing By - Wedgwood,
Pam Fuego Espanol!
(Spanish Fire!) -
Birston,
Harold Minuet, op. 19,
no. 3 - Squire, William
Henry Langsam (Slowly)
- Hindemith, Paul.
By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Gr...(+)
By ABRSM. Edited by
Catherine Black and Paul
Harris. For violoncello,
piano. (Grades 2-3).
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC7. Published
by The Frederick Harris
Music Company (FH.VC7).
ISBN
978-1-55440-543-5.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Level
7: Il barbiere di
Siviglia: Overture -
Rossini,
Gioachino Carmen:
Prelude to act 1 - Bizet,
Georges Coriolan
Overture, op. 62 -
Beethoven, Ludwig
van Symphony No. 94
(Surprise), Hob. I:94:
I,IV - Haydn, Franz
Joseph Ruslan and
Ludmilla: Overture -
Glinka, Mikhail Peer
Gynt Suite No. 1, op. 46:
I,III,IV - Grieg,
Edvard Level
8: Incidental Music to
A Midsummer Night's
Dream, op. 61: I -
Mendelssohn,
Felix Symphony No. 8,
op. 88: I,IV - Dvorak,
Antonin The
Nutcracker, op. 71:
Russian Dance, Waltz of
the Flowers, Pas de deux
- Tchaikovsky, Pyotr
Il'yich Symphony No. 8
(Unfinished), D 759: I,II
- Schubert, Franz Die
Zauberfloete, K 620:
Overture - Mozart,
Wolfgang
Amadeus Symphony No.
40, K 550: I,IV - Mozart,
Wolfgang Amadeus Level
9: Symphony No. 9, op.
125: II,IV - Beethoven,
Ludwig van Symphony
No. 8, op. 93: III -
Beethoven, Ludwig
van Serenade for
Strings, op. 22: III,IV,V
- Dvorak,
Antonin Piano Concerto
No. 2, op. 83: III -
Brahms,
Johannes Serenade for
Strings, op. 48:
I,II,III,IV -
Tchaikovsky, Pyotr
Il'yich Symphony No. 4
(Italian), op. 90: I,IV -
Mendelssohn,
Felix Symphony No. 3,
op. 90: III,IV - Brahms,
Johannes Symphony No.
35 (Haffner), K 385: I,IV
- Mozart, Wolfgang Le
nozze di Figaro, K 492:
Overture - Mozart,
Wolfgang Amadeus Level
10: Group
1: Variations on an
Original Theme (Enigma),
op. 36: Variation 12 -
Elgar, Edvard Dichter
und Bauer: Overture -
Suppe, Franz von Messa
da Requiem: III - Verdi,
Giuseppe Guillame
Tell: Overture - Rossini,
Gioachino Group
2: Symphonie
fantastique: II,III,V -
Berlioz,
Hector Symphony No. 4,
op. 36: I,II,IV -
Tchaikovsky, Pyotr
Il'yich Symphony No.
5, op. 67: I,II,III -
Beethoven, Ludwig
van Symphony No. 4,
op. 98: I,II,III,IV -
Brahms,
Johannes Symphony No.
6 (Pathetique), op. 74:
I,II - Tchaikovsky, Pyotr
Il'yich Symphony No.
2, op. 73: I,II,IV -
Brahms,
Johannes Associate: Group 1: Symphony No.
5, op. 100: I,II,III,IV -
Prokofiev, Sergei La
mer: I,II - Debussy,
Claude The Bartered
Bride: Overture -
Smetana,
Bed_ich Symphony No.
5, op. 47: I,II,III -
Shostakovich,
Dmitri Group
2: Matthaus-Passion,
BWV: Komm, suesses Kreutz
- Bach, Johann
Sebastian Don Juan,
op. 20 - Strauss,
Richard Ein
Heldenleben, op. 40 -
Strauss,
Richard Verklaerte
Nach1, op. 4 -
Schoenberg, Arnold.
Piano Trio: piano, violon, violoncelle [Set de Parties séparées] Carl Fischer
(Fourteen Selected Trio Arrangements) Compiled by W. F. Ambrosio. Set of perform...(+)
(Fourteen Selected Trio
Arrangements) Compiled by
W. F. Ambrosio. Set of
performance parts for
violin, cello and piano.
With bowings and
fingerings. 105 pages.
Published by Carl
Fischer.
Composed by Johann Sebastian Bach (1685-1750). Guitar. Classical. Softcover Audi...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Guitar.
Classical. Softcover
Audio Online. With guitar
tablature. 88 pages.
Published by Cherry Lane
Music
International Edition. By Tsuyoshi Tsutsumi. Arranged by Dr. Shinichi Suzuki. Th...(+)
International Edition. By
Tsuyoshi Tsutsumi.
Arranged by Dr. Shinichi
Suzuki. This edition:
Performance/Accompaniment
CD; International.
Method/Instruction;
String - Cello (Suzuki);
Suzuki. Suzuki Cello
School. Instructional and
Technique. Performance
CD. Alfred Music
#00-0940. Published by
Alfred Music
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110).
ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor.
Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s 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
(Revised Edition). For cello. String - Cello (Suzuki). The Suzuki Method Core M...(+)
(Revised Edition). For
cello. String - Cello
(Suzuki). The Suzuki
Method Core Materials.
Instructional and
Technique. Instructional
book. Fingerings and
introductory text. 19
pages. Published by
Alfred Music Publishing