1, 2, 3 pianos and more - Level 2 SKU: LM.VV268 Composed by Annick Chartr...(+)
1, 2, 3 pianos and more -
Level 2
SKU:
LM.VV268
Composed by
Annick Chartreux and
Valerie
Guerin-Decouturelle.
Classical. Score.
Editions Van de Velde
#VV268. Published by
Editions Van de Velde
(LM.VV268).
ISBN
9790560052687.
Au
Perou - Un piano
sympathique - Nez rouge
au cirque - Valse de la
mandarine - En regardant
tomber la pluie - A toute
volee - Un p'tit bout
d'anatole - Une barque
sur le Yang-Tse - Perdus
dans la foret - Igor le
dinosaure - Mise en
musique d'un poeme - Un
dragon dans le donjon -
Reve d'ailleurs - Boogie
- Dans le style d'une
danse populaire - Tout en
ton - En route vers la
forteresse - Jeu de
constructions - Sauce
piquante - La Balancoire
capricieuse - Papiers -
Meli-melo.
Piano - Level 2 SKU: LM.24856 Les plaisirs... Mendels A. Classical. Score...(+)
Piano - Level 2
SKU:
LM.24856
Les
plaisirs... Mendels A.
Classical. Score.
Editions Henry Lemoine
#24856. Published by
Editions Henry Lemoine
(LM.24856).
ISBN
9790230948562.
BACH
C.P.E. : Solfegietto -
MOZART W.A. : Sonatine -
BEETHOVEN L. : La lettre
a Elise - CHOPIN F. :
Valse - SCHUMANN R. :
Fantaisie-danse -
MENDELSSOHN F. : Gondole
venitienne - ALBENIZ I. :
Espania n. 1, Prelude -
CHOSTAKOVITCH D. : Sur
les balancoires - STRAUSS
J. : Valse (4ms) -
KABALEVSKI D. :
Variations sur une danse
populaire russe - DEBUSSY
C. : Le petit negre -
DAMASE J.M. : Cendrillon
- VIKTOR D. : Kis Koun
danse - LARGUEZE J. :
Jardins dans la nuit -
DEVEVEY P. : Negro
Spiritual - CHARTREUX A.
: Sleeping man.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
Carol of the Bells. Composed by Peter Wilhousky Mykola Leontovich. Arranged ...(+)
Carol of the Bells.
Composed
by Peter Wilhousky Mykola
Leontovich. Arranged by
Daniel Afonso. Fold.
Octavo.
8 pages. Duration 1
minute,
39 seconds. Carl Fischer
Music #CM9644. Published
by
Carl Fischer Music
Percussion SKU: HL.267682 Percussion. Composed by Per Nø, rd...(+)
Percussion
SKU:
HL.267682
Percussion.
Composed by Per Nø,
rd, and rgå. Music
Sales America. Classical.
Softcover. 1 pages.
Edition Wilhelm Hansen
#WH33032. Published by
Edition Wilhelm Hansen
(HL.267682).
Sun Meetings
Moon - Dancing Between
Stars for Percussion by
Per Norgard (2005). From
the children's theater
performance Dance and
Moonplay by Maria
Lalander and Corona La
Balance.
String Trio - early intermediate SKU: BT.DHP-1155625-070 Arranged by Nico...(+)
String Trio - early
intermediate
SKU:
BT.DHP-1155625-070
Arranged by Nico Dezaire.
De Haske Flexible String
Trios. Set (Score &
Parts). Composed 2015. De
Haske Publications #DHP
1155625-070. Published by
De Haske Publications
(BT.DHP-1155625-070).
ISBN 9789043142397.
English-German-French-Dut
ch.
Discover the
Waltzes is the third
edition in the De
Haske Flexible String
Trios series which
offers many possibilities
to string ensembles of
various instrumentations.
The set contains a
three-part score and nine
individual parts for
violin, viola and cello.
This means that the
pieces can be played in
any combination of string
instruments, depending on
the musicians
available. Discover
the Waltzes contains
six motivating
arrangements of famous
waltzes from the 19th to
the early 20th
Century.
Voor
strijkers-ensembles die
in wisselende bezettingen
spelen biedt de
Flexible String
Trios serie een
uitgekiend concept. In de
partituur worden 3
stemmen aangegeven,
waarbij iedere stem door
zowel viool, altviool of
cello kan wordeningevuld.
Op deze manier kunnen de
stukken in allerlei
combinaties van
strijkinstrumenten worden
gespeeld. Zowel
combinaties met dezelfde
als met verschillende
strijkinstrumenten zijn
mogelijk. In het laatste
geval is het wel aan te
raden het hoogstgestemde
instrument de hoogst
genummerde stem te laten
spelen. Dit levert een
juiste klankbalans en
daardoor het mooiste
resultaat.
Discover
the Waltzes is een
verzameling arrangementen
van beroemde walsen uit
de 19e en vroege 20e
eeuw. De partijen zijn
antrekkelijk geschreven
en blijven dicht bij het
origineel.Discover the
Waltzes bevat zes
uitdagende arrangementen
- heerlijk om te spelen
en uitermate geschikt
voor uitvoeringen!
Discover the
Waltzes ist die
dritte Ausgabe der Reihe
De Haske Flexible String
Trios, die
Streichensembles, die in
wechselnden Besetzungen
spielen, zahlreiche
Besetzungsmöglichkeite
n bietet: Das Set
enthält eine Partitur
für drei Stimmen
sowieneun Einzelstimmen
für Violine, Viola und
Violoncello. Auf diese
Weise können allerlei
Kombinationen von
Streichinstrumenten
gebildet werden, je nach
verfügbaren
Spielern. Discover
the Waltzes
enthält sechs
motivierende
Bearbeitungen
berühmter Walzer aus
dem 19. und frühen 20.
Jahrhundert.
Tenor Saxophone - Difficulty: medium SKU: HL.672377 Tenor Saxophone(+)
Tenor Saxophone -
Difficulty: medium
SKU: HL.672377
Tenor Saxophone.
By Stan Getz. Hal Leonard
Artist Transcriptions.
Jazz and Latin Jazz.
Tenor saxophone solo
songbook. With chord
names, alternate
fingerings and
introductory text. 94
pages. Published by Hal
Leonard (HL.672377).
ISBN 9780793581795.
UPC: 073999953527. 9x12
inches.
18 Bossa
Novas transcribed note
for note, including:
Balanco No Samba (Street
Dance) • Ebony
Samba (Sambanegro)
• The Girl from
Ipanema (Garôta De
Ipanema) • How
Insensitive (Insensatez)
• One Note Samba
(Samba De Uma Nota So)
• Quiet Nights of
Quiet Stars (Corcovado)
• Samba De Duas
Notas (Two Note Samba)
• Slightly Out of
Tune (Desafinado) •
and more.
About Hal
Leonard Artist
Transcriptions
p>
Artist
Transcriptions are
authentic, note-for-note
transcriptions of the
hottest wind, electronic,
guitar and keyboard
artists. These
outstanding, accurate
arrangements are in an
easy-to-read format which
includes all essential
lines. Artist
Transcriptions can be
used to perform, sequence
or reference.
For Violin. Classical (duets). Contains printed music score and a compact disc f...(+)
For Violin. Classical
(duets). Contains printed
music score and a compact
disc featuring all the
works in split-channel
stereo, with the first
violin on the right
channel, the second
violin on the left. By
adjusting the balance,
the soloist can remove
either violin and play
the other. Published by
Music Minus One
Violin - Beginning SKU: MB.30932M Duets and Ensemble, Saddle-stitched. Ke...(+)
Violin - Beginning
SKU: MB.30932M
Duets and Ensemble,
Saddle-stitched. Keyboard
Accompaniment.
Book/insert/online audio.
72 pages. Mel Bay
Publications, Inc
#30932M. Published by Mel
Bay Publications, Inc
(MB.30932M).
ISBN
9781513466255. 8.75x11.75
inches.
First
Lessons Violin Duets
contains 47 violin duets
for beginning through
easy level performance.
Duet violin parts and a
piano accompaniment part
for all the tunes
presented in Mel Bay?s
First Lessons Violin are
included. This versatile
duet book works hand in
hand with First Lessons
Violin, Suzuki and other
violin methods. It is
useful for violin
classes, ensembles,
recitals, and
performances.This book
has accompanying online
audio of the duets. The
two violin parts are
split right and left so
that the violinist may
perform either part with
the recording by changing
the stereo balance.
Includes access to online
audio.
Violin SKU: LM.29352 Composed by Regis Campo. Classical: 20th Century (Co...(+)
Violin
SKU:
LM.29352
Composed by
Regis Campo. Classical:
20th Century
(Contemporary). Score. 9
pages. Editions Henry
Lemoine #29352. Published
by Editions Henry Lemoine
(LM.29352).
ISBN
9790230993524.
Gigu
e du troll qui sent
mauvais - Un farfadet
d'Indonesie - Molly, la
fee au gros nez - Momo,
un lutin africain - Chant
du lutin aux grands pieds
- Une sorciere vraiment
tres moche - Zaza, la
licorne qui louche, qui
est triste (mais pas
trop) - Lucioles et
pillywiggins dans la nuit
- Bob, le gnome sur une
balancoire.
Danny Boy Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.026-3977-01 Composed by Barker. Arranged by A. Clark. Con...(+)
Grade 3
SKU:
CL.026-3977-01
Composed by Barker.
Arranged by A. Clark.
Concert Band.
Build-A-Band. Extra full
score. Composed 2010.
Duration 4 minutes, 29
seconds. C.L. Barnhouse
#026-3977-01. Published
by C.L. Barnhouse
(CL.026-3977-01).
Warren Barker's
classic band arrangement
of Danny Boy is one of
the all-time best sellers
in the Barnhouse Concert
Band catalog. Andy Clark
has taken Warren's great
arrangement and adapted
it for the Barnhouse
Build-A-Band Series in a
way that retains all of
the charm of the
original. It's playable
with any instrumentation
as long as the four basic
parts are covered.
About
Build-A-Band
Series
The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.)
Les Musiverbes Violon et Piano SATB, Orchestre [Conducteur] Lemoine, Henry
Violin and piano SKU: LM.28277 Composed by Grazia Previdi. Mes Premiers P...(+)
Violin and piano
SKU:
LM.28277
Composed by
Grazia Previdi. Mes
Premiers Pas de T. Masson
et P. Guillem. Classical.
Score. Editions Henry
Lemoine #28277. Published
by Editions Henry Lemoine
(LM.28277).
For Violin. Classical (duets). Contains printed music score and a compact disc f...(+)
For Violin. Classical
(duets). Contains printed
music score and a compact
disc featuring all the
works in split-channel
stereo, with the first
violin on the right
channel, the second
violin on the left. By
adjusting the balance,
the soloist can remove
either violin and play
the other. Published by
Music Minus One.
Composed by Quincy C.
Hilliard. Set of Score
and Parts.
21+16+2+8+8+4+2+6+4+4+4+4
+4+4+6+6+4+6+6+2+1+4+3+3
pages. Duration 4
minutes, 25 seconds. Carl
Fischer Music #YPS237.
Published by Carl Fischer
Music (CF.YPS237).
ISBN 9781491159538.
UPC:
680160918126.
Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)ÂÂ
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)ÂÂ
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  .
Composed
by Quincy C. Hilliard.
Full score. 21 pages.
Carl Fischer Music
#YPS237F. Published by
Carl Fischer Music
(CF.YPS237F).
ISBN
9781491159545. UPC:
680160918133.
Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)ÂÂ
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)ÂÂ
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  .
(For Bassoon and String quartet). By Carl Maria von Weber (1786-1826) and Carl M...(+)
(For Bassoon and String
quartet). By Carl Maria
von Weber (1786-1826) and
Carl Maria von Weber
(1786-1826). Arranged by
Michael Rot. For bassoon,
2 violins, viola, cello.
Chamber music. Score and
set of parts. Op. 35.
Published by Doblinger
Music Publishers
Concert Band - Grade 4.5 SKU: KJ.JB117 Composed by Jack Stamp. Band/Reper...(+)
Concert Band - Grade 4.5
SKU: KJ.JB117
Composed by Jack Stamp.
Band/Repertoire. Score
and parts. Neil A. Kjos
Music Company #JB117.
Published by Neil A. Kjos
Music Company (KJ.JB117).
UPC:
084027053508.
Compo
ser Jack Stampâ??s
memorable melodies float
over an infectious Latin
groove seasoned with
maracas, bongos, claves,
guiro and more from the
large percussion section.
Wellbalanced among the
band, this dance is
perfect for festival and
concert performances.
By Sydney Carter. Arranged by John Rutter. For Choir. (Unison). American Folk T...(+)
By Sydney Carter.
Arranged by John Rutter.
For Choir. (Unison).
American Folk Tune, Life
of Christ, Redemption and
Sacred. Print Music
Single (Unison w/opt.
Descant). Published by
Hope Publishing Company.
Border Dance - Score Orchestre d'harmonie [Conducteur] - Intermédiaire Kjos Music Company
Concert Band - Grade 4.5 SKU: KJ.JB117F Composed by Jack Stamp. Band/Repe...(+)
Concert Band - Grade 4.5
SKU: KJ.JB117F
Composed by Jack Stamp.
Band/Repertoire. Score.
Neil A. Kjos Music
Company #JB117F.
Published by Neil A. Kjos
Music Company
(KJ.JB117F).
UPC:
084027053515.
Compo
ser Jack Stampâ??s
memorable melodies float
over an infectious Latin
groove seasoned with
maracas, bongos, claves,
guiro and more from the
large percussion section.
Wellbalanced among the
band, this dance is
perfect for festival and
concert performances.
Fire Dance Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.026-4128-01 Composed by Shaffer. Concert B...(+)
Concert band - Grade 2
SKU:
CL.026-4128-01
Composed by Shaffer.
Concert Band.
Build-A-Band. Extra full
score. Composed 2012.
Duration 3 minutes, 40
seconds. C.L. Barnhouse
#026-4128-01. Published
by C.L. Barnhouse
(CL.026-4128-01).
David Shaffer's
energetic Fire Dance has
been a very popular band
piece for many years, and
David's new arrangement
for the Build-A-Band
Series retains all of the
fun and excitement of the
original but allows it to
sound great with very
small bands or bands that
have instrumentation
issues. Includes multiple
percussion parts which
greatly enhance the
piece. As is normal for
this series, it includes
an optional piano
part.
About
Build-A-Band
Series
The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.)
Lord of the Dance Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Sydney Carter. Arranged by John Rutter. For SAB choir with optional descant. ...(+)
By Sydney Carter.
Arranged by John Rutter.
For SAB choir with
optional descant. The
John Rutter Choral
Series. American Folk
Tune, Life of Christ,
Redemption, Hymntune,
Children, Lent, Sacred.
Octavo. 12 pages.
Published by Hope
Publishing Company
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-restÂÂ
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
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Full score. With Standard
notation. 24 pages. Carl
Fischer Music #CAS110F.
Published by Carl Fischer
Music (CF.CAS110F).
ISBN 9781491151662.
UPC: 680160909162. 9 x 12
inches.
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-restÂÂ
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