Arranged by Timothy Brown. Book. FJH Piano Teaching Library. Book. The FJH Music Company Inc #FJH2312. Published by The FJH Music Company Inc

By Peter Ilyich Tchaikovsky. Arranged by Halferty. For 4 flutes. Flute Quartet. Level: Grade 5. Published by Kendor Music Inc.

Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by Douglas E. Wagner. Classics, Christmas, Sacred, General Worship. Handbell score. 8 pages. Hope Publishing Company #1330. Published by Hope Publishing Company (HP.1330).

From the "Nutcracker Suite". By Peter Ilyich Tchaikovsky. Arranged by Kevin Kaisershot. For 4 trumpets. Trumpet Quartet. Romantic, Christmas. Level: Grade 4. Published by Kendor Music Inc.

By Peter Ilyich Tchaikovsky. Arranged by Andrew Balent. Young Band. FJH Young Band. Score for this title: B1165S. Concert Band. Level: 2.5. Score and Set of Parts. Composed 2003. Published by The FJH Music Company Inc.

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16753

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16753. Published by Kendor Music Inc (KN.16753).

UPC: 822795167535.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16756

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16756. Published by Kendor Music Inc (KN.16756).

UPC: 822795167566.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16758

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16758. Published by Kendor Music Inc (KN.16758).

UPC: 822795167580.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16755

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16755. Published by Kendor Music Inc (KN.16755).

UPC: 822795167559.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16757

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16757. Published by Kendor Music Inc (KN.16757).

UPC: 822795167573.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16752

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16752. Published by Kendor Music Inc (KN.16752).

UPC: 822795167528.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - Grade 4

SKU: KN.16754

Composed by Various. Arranged by Frank Halferty. Ensemble. Kendor Ensemble Series. Kendor Music Inc #16754. Published by Kendor Music Inc (KN.16754).

UPC: 822795167542.

This collection of treasured selections are arranged here for grade 3-3+ woodwind quintets. From Bach to Tschaikowsky, you'll find it to be a resource for practically any type of performance.

Contents:
Fant asy On Ode To Joy; In The Hall Of The Mountain King (Grieg); March (from The Nutcracker Suite) (Tschaikowsky); La Rejouissance (Handel); Prelude In E Minor (Chopin); March (from Anna Magdalena's Notebook) (Bach); Menuets (from Music For The Royal Fireworks) (Handel); Simple Gifts; Sheep May Safely Graze (Bach); Trepak (from The Nutcracker Suite) (Tschaikowsky); Wie Shon Leuchtet Der Morgenstern (Bach); Kind In Einschlummern (Schumann); and Habanera (from Carmen) (Bizet).

4-6 Octave handbells - Grade 4

SKU: BP.HB590

Composed by William Griffin. Arranged by William Griffin. Handbell choir music. Secular. Handbell score. Beckenhorst Press #HB590. Published by Beckenhorst Press (BP.HB590).

Arranged for 4 to 6 octave handbell choir and optional 2 octaves of handchimes. Level 4+. P. I. Tchaikovsky. For advanced groups looking for a show-stopping holiday number, look no further! William Griffin's masterful transcription of the Russian Dance from The Nutcracker Suite will challenge even the most advanced ensembles and wow their audiences. Fast runs, frequent dynamic contrasts, and extensive chromatics provide for a thrilling experience. Not to be missed!

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

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

SKU: CF.CAS110F

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 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

I. March, II. Dance of the Reed Flutes, III. Russian Dance (Trepak). Composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by Michael Story. Concert Band; Masterworks; Part(s); Score. Belwin Beginning Band. Form: Suite. Christmas; Masterwork Arrangement; Romantic; Secular; Winter. 272 pages. Published by Belwin Music (AP.44889).

Concert Band (Score) - Grade 2

SKU: HL.26014011

Composed by Peter Ilyich Tchaikovsky. Arranged by Paul Lavender. Basic Band II. Christmas, Classical, Concert, Secular. Published by Hal Leonard (HL.26014011).

UPC: 884088115357. 8.5x11.0x0.044 inches.

In this carefully scored setting of the best-known movements from Tchaikovsky's classic ballet, Paul Lavender has made this masterpiece accessible to developing bands. Includes: Dance of the Sugar Plum Fairy, Elves' Dance, Trepak and Waltz of the Flowers.

By Peter Ilyich Tchaikovsky. (Piano). Ashley Mark "His Greatest" Series (Piano solo arrangements). Book only. 192 pages. Published by Ashley Publications Inc.

Adult Piano Adventures. Arranged by Nancy Faber and Randall Faber. Adult Piano Adventures. Christmas, Educational. Softcover Audio Online. 80 pages. Faber Piano Adventures #FF1370. Published by Faber Piano Adventures

Stylish Arrangements from the Holiday Classic. By Peter Ilyich Tchaikovsky. Arranged by Carol Klose. Piano Solo Songbook (Intermediate to advanced piano arrangements with no lyrics). Softcover. 40 pages. Published by Hal Leonard.

(From the Nutcracker Suite ). By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Murray Houllif. For percussion ensemble (7 players). Percussion Septet. Romantic, Christmas. Grade 4

Early Intermediate Level. By Peter Ilyich Tchaikovsky. Arranged by William L. Gillock. Willis. Size 9x12 inches. 10 pages. Published by Willis Music.

Nutcracker Suite * Masterpiece Edition composed by Peter Ilyich Tchaikovsky (1840-1893). Arranged by Alexander Cole. For piano solo. This edition: Paperback. Solo. Masterpiece Edition series. Classical. Intermediate. Sheet Music. Text Language: English. 16 pages. Published by Santorella Publications

Edited by Bill Galliford / Zoby Perez. Instrumental collection (Clarinet). 24 pages. Published by Warner Brothers.