By James Pierpont, Additional Music, From The Nutcracker Suite, By Peter Ilyich Tchaikovsky. Arranged by Chuck Bridwell. For Choir. (2-Part). Choral Octavo. Choral Designs. Novelty. Choral Octavo. 16 pages. Published by Alfred Publishing.

By Peter Ilyich Tchaikovsky. Arranged by Catherine Rollin. For Piano. Piano Duet (One Piano, Four Hands). Masterwork. Level: Intermediate / Late Intermediate (grade 4/5/6). Book. 48 pages. Published by Alfred Publishing.

Choir Secular Narrator, Girl's chorus, Boy's chorus, Solo violin, and small orchestra

SKU: PE.EP68482

For Narrator, Girl's Chorus, Boy's Chorus, Solo Violin, and Small Orchestra (1972). Composed by William Goldstein. Choral Extended Work. Edition Peters. Christmas; Winter. Choral Octavo. 20 pages. Duration 00:06:00. Edition Peters #98-EP68482. Published by Edition Peters (PE.EP68482).

ISBN 9790300758770. English.

Poem by Clement Clarke Moore (A Visit From Saint Nicholas)

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Richard Meyer. Orchestra. String Orchestra. String Orchestra. Form: March. Christmas; Romantic; Winter. Grade 3. Conductor Score and Parts. 126 pages

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Bob Cerulli. Orchestra. Masterworks; Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Form: March; Transcription. Christmas; Masterwork Arrangement; Romantic; Winter. Grade 2.5. 72 pages. Published by Belwin Publishing

By Peter Ilyich Tchaikovsky. Arranged by Margaret Goldston. For Piano. Piano Duet (One Piano, Four Hands). Masterwork. Level: Late Elementary / Early Intermediate (grade 2/3). Book. 40 pages. Published by Alfred Publishing.

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Andrew H. Dabczynski. Orchestra. Masterworks; SmartMusic; String Orchestra. HighlandåÊString Explorer. Form: Transcription. Christmas; Masterwork Arrangement; Romantic; Winter. Grade 1.5. Conductor Score and Parts. 140 pages. Published by Alfred Music Publishing

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Mark Weston, scored by Douglas E. Wagner. Orchestra. For strings w/ vln 3. Masterworks; Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Christmas; Light Concert; Masterwork Arrangement; Novelty; Romantic; Winter. Grade 2.5. 144 pages. Published by Belwin Publishing

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Andrew H. Dabczynski. Orchestra. For String Orchestra. String Orchestra. String Explorer. Form: Transcription. Christmas; Romantic; Winter. 1.5 (grade 1.5). Score. 8 pages

(As performed by Trans-Siberian Orchestra). Composed by Paul O'Neill, Robert Kinkel, and Peter Ilyich Tchaikovsky [Trans-Siberian Orchestra]. Arranged by Bob Phillips. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Christmas; Rock; Winter. Grade 3.5. 226 pages. Published by Alfred Music

(With apologies to Peter Tchaikovsky). Arranged by Michael Story and Michael Story. Concert Band. Concert Band; Part(s); Score. Belwin Young Band. Christmas; Secular; Winter. Grade 2. 240 pages. Published by Belwin Publishing

Orchestra - Grade 0.5

SKU: AP.47424

Composed by Peter Ilyich Tchaikovsky. Arranged by Michael Story. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Very Beginning String Orchestra. Form: Dance. Christmas; Masterwork Arrangement; Winter. Score and Part(s). 70 pages. Duration 1:28. Belwin Music #00-47424. Published by Belwin Music (AP.47424).

UPC: 038081545622. English.

This piece is sure to get your students and audiences in the holiday mood. The familiar melody, straightforward rhythms, and optional percussion create a wonderful arrangement of this timeless classic. A great opener for any holiday concert.

By Peter Draper. For Flute, Guitar. Classical. Sheet Music. 96 pages. Published by Music Sales.

Arranged by Wesley D. Peters. Sing! Christmas, Holiday, Winter. Octavo. Published by Chorister's Guild (LO.CGE88).

Arranged by Wesley D. Peters. Sing! Christmas, Holiday, Winter. Octavo. Published by Chorister's Guild (LO.CGE89).

By German. For Vocal. (Voice). CD Sheet Music (Version 2.0). PDF file on CD. 2200 pages. Published by Subito Music.

Orchestra - Grade 2.5

SKU: AP.45883S

By Peter Ilyich Tchaikovsky. By Peter Ilyich Tchaikovsky. Arranged by Scott Watson. Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Christmas; Masterwork Arrangement; Novelty; Romantic; Secular; Winter. Score. 20 pages. Duration 2:20. Highland/Etling #00-45883S. Published by Highland/Etling (AP.45883S).

UPC: 038081423903. English.

Have the cookies left out on Christmas Eve mysteriously vanished? Does it seem like the nutcracker and toy soldier figurines have moved by themselves overnight? Are you experiencing strange visions of holiday confections dancing in your head? There's only one operative with the right skill set for holiday capers like these: Secret Agent Sugar Plum of the Holiday Sweets Division of WinterPol!

This clever arrangement by Scott Watson fuses themes from Tchaikovsky's Dance of the Sugar Plum Fairy (from The Nutcracker) with classic spy music idioms, all set to a driving rock beat. Sure to be a player and audience favorite in your holiday concert! (2:20).

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5

SKU: CF.CAS110

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 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< 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 sforzandosA 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, 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< 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 sforzandosA 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, 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< 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 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-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-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.

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