Nutcracker Jingles Chorale 2 parties 2 parties [Octavo] Alfred Publishing
By James Pierpont, Additional Music, From The Nutcracker Suite, By Peter Ilyich ...(+)
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.
SKU: GI.G-1118 Composed by James Jordan. GIA ChoralWorks. Music Education...(+)
SKU: GI.G-1118
Composed by James Jordan.
GIA ChoralWorks. Music
Education. Choral score.
GIA Publications #1118.
Published by GIA
Publications (GI.G-1118).
A year ago,
Westminster Williamson
Voices joined a
consortium called
“The Scattered
Light Consortiumâ€
along with Jo-Michael
Scheibe at USC (the USC
Thornton Chamber Singers)
and Jamie Glasgow (The
Glasgow School of Art
Choir). I was attracted
to the concept not only
because of the composers
who are dear friends, but
because the pieces were
set to poems by one of
America’s greatest
poets, Dana Gioia. When
the two works arrived
from composer Sarah
Rimkus and Thomas LaVoy,
I had, as they say,
“the wind knocked
out of me.†While
both poems could be
interpreted using a
broader life perspective,
they spoke to me and the
choir in ways that were
immediately deep and
profound. Both poems
provide light and hope to
all of us who are living
through this change at
Westminster into
something unknown. And
then, shortly after this
recording was completed,
the pandemic struck and
we were in isolation from
our music-making family.
We were thankful that we
were able to complete
this recording. Â All
of the music on the CD
reflects our hope for the
future as we climb a
crooked ladder leading
to, hopefully, a brighter
new time for our beloved
college, and our lives
beyond the pandemic. Our
desire is to see a
glimmer of light behind
what seems a very closed
door. This CD offers
music for personal
reflection, with the hope
that these sounds can
provide for each of us
“scatteredâ€
new light. Â CONTENTS:
In the Bleak Midwinter,
Steve Pilkington •
Kit Smart's Carol, Gerald
Custer •
Improvisation on Coventry
Carol, Sam Scheibe,
Christian Koller,
Guillermo Passarin, Alex
Tomlinson •
Solitude, James Whitbourn
• The Stars Now
Rearrange Themselves,
Thomas LaVoy • The
Burning Ladder, Sarah
Rimkus • Salvation
to All That Will Is Nigh,
Anthony Maglione •
Brightest and Best, Sarah
Rimkus • Coventry
Carol, John Frederick
Hudson •
Magnificat, Peter Relph
• Let All Mortal
Flesh Keep Silent, Sam
Scheibe.
By Peter Ilyich Tchaikovsky. Arranged by Catherine Rollin. For Piano. Piano Duet...(+)
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.
Alto Flute (Doubling Piccolo), Glockenspiel, and Piano SKU: PE.EP6805D (+)
Alto Flute (Doubling
Piccolo), Glockenspiel,
and Piano
SKU:
PE.EP6805D
Arrangement by Morton
Feldman for Alto Flute
(doubling Piccolo),
Glockenspiel and
Piano. Composed by
John Cage. Arranged by
Morton Feldman. Mixed
Instruments -
Miscellaneous Ensemble;
Trio. Edition Peters.
Contemporary. 40 pages.
Edition Peters
#98-EP6805D. Published by
Edition Peters
(PE.EP6805D).
ISBN
9790300763484.
In
June of 1980, Aki
Takahashi was preparing
to leave Buffalo, New
York. Morton Feldman,
knowing her reputation as
a pianist specializing in
new music, had invited
her to be an artist in
residence at the
university where he
taught. But now it was
time for her to go back
to Japan. At their last
meeting, Feldman gave a
musical score to
Takahashi as a gift. It
was a copy of John Cage's
solo piano piece Cheap
Imitation with
annotations by Feldman.
He told her that this was
an instrumental version
of this piece for flute,
piano, and glockenspiel.
He signed the title page,
just under the original
title:
INSTRUMENTAL
VERSION (Fl, Pf, Glock)
Morton Feldman
Buffalo, N.Y. Winter
1980 Dedicated to Aki
Takahashi
Four
different artists were
bound up in this single
gesture: John Cage, Erik
Satie, Morton Feldman,
and Aki Takahashi. The
story of this gift, a
story of memory and
connection, unfolds over
most of the 20th century.
John Cage was
always devoted to the
music of Eric Satie. In
1970 Cage was supposed to
create a new two-piano
transcription of Satie's
Socrate for a Cunningham
dance, but he was unable
to get permission from
the publisher. Even
worse, he could not even
get performance rights to
use the published
piano-vocal score of
Socrate. Cage's creative
solution was to make a
piano piece that
maintained the exact
metrical and phrase
structure of Satie's
Socrate, but with
different notes, thus
avoiding copyright
issues. He called this
piece Cheap Imitation.
Cunningham responded by
calling his dance Second
Hand.
Feldman
arranged Cage's piano
version of Cheap
Imitation for a trio of
flute (doubling on alto
flute and piccolo),
piano, and glockenspiel.
This is the same
instrumentation that was
used in Feldman's 1978
Why Patterns? and which
(somewhat expanded) was
the basis for two of his
major works in the 1980s:
Crippled Symmetry (1983)
and For Philip Guston
(1984). Feldman made his
ar.
Choir Secular Narrator, Girl's chorus, Boy's chorus, Solo violin, and small orch...(+)
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)
Choir Secular SSATBB Choir & Organ or Instrumental Accompaniment (SATB choir) (+)
Choir Secular SSATBB
Choir & Organ or
Instrumental
Accompaniment (SATB
choir)
SKU:
PE.EP73451
From A
Time to Dance.
Composed by Alec Roth.
Choral Works (inc.
Oratorios). Edition
Peters. Choral Octavo. 12
pages. Duration 00:02:40.
Edition Peters
#98-EP73451. Published by
Edition Peters
(PE.EP73451).
ISBN
9790577019321. 190 x
272mm inches.
English.
The
original version of
Snowflakes
formed part of the
‘Winter
Night’ section of
the cantata A Time to
Dance for soloists,
choir and orchestra (EP
73023), commissioned by
the Summer Music Society
of Dorset in celebration
of its 50th anniversary,
and first performed by Ex
Cathedra, conducted by
Jeffrey Skidmore at
Sherborne Abbey, 9 June
2012. This stand-alone
version was first sung by
the Ex Cathedra Choir
with Andrew Fletcher
(organ), conducted by
Jeffrey Skidmore, at
their ‘Christmas
Music by
Candlelight’
concert at St
John’s Smith
Square, London, 13
December
2012.
RECORDIN
G: Snowflakes is recorded
by Ex Cathedra, conducted
by Jeffrey Skidmore, and
is available on CD and as
a digital download on the
album ‘A Time to
Dance’ on the
Hyperion label
(CDA68144).
By Peter Ilyich Tchaikovsky. Arranged by Margaret Goldston. For Piano. Piano Due...(+)
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. Orche...(+)
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 Doug...(+)
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. Orche...(+)
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
A Mad Russian's Christmas Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(As performed by Trans-Siberian Orchestra). Composed by Paul O'Neill, Robert Kin...(+)
(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
Good King Nutcracker Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Belwin
(With apologies to Peter Tchaikovsky). Arranged by Michael Story and Michael Sto...(+)
(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....(+)
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.
1828. Composed by
Franz Schubert. Edited by
Rudiger Bornhoft. This
edition: Urtext. String
Orchestra Conductor
Score. Edition Peters.
Classical. Score.
Composed 1828. 140 pages.
Edition Peters
#98-EP11268. Published by
Edition Peters
(PE.EP11268).
ISBN
9790014110338.
German.
Mass No.6
in Eb Major D950 - SATTB
Soli, SATB Chorus,
Orchestra (full score) -
This mass was written in
1828 in the final months
of Schubert's life. Like
many of his late works,
such as the C Major
Symphony or Die
Winterreise, Schubert
never heard the Mass
himself. The premiere,
given by his brother
Ferdinand in October
1829, met with great
acclaim from the
audience, and further
performances soon
followed. One
contemporary reviewer
called Schubert's final
Mass surely one of his
most profound and perfect
creations. Our new urtext
edition is based on the
autograph score.on the
autograph score.
Orchestra - Grade 2.5 SKU: AP.45883S By Peter Ilyich Tchaikovsky. By Pete...(+)
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).
Composed by Peter Ilyich
Tchaikovsky. Arranged by
Bud Caputo. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
24+24+6+15+15+15+7+24
pages. Duration 5:57.
Carl Fischer Music
#CAS110. Published by
Carl Fischer Music
(CF.CAS110).
ISBN
9781491151297. UPC:
680160908790. 9 x 12
inches. Key: E
minor.
Bud Caputo
presents Nutcracker Suite
Selections for string
orchestra featuring three
abridged movements
of?Tchaikovsky's
Nutcracker Suite:?Dance
of the Sugar Plum Fairy,
March, and Trepak. These
abridged movements are
sure to be crowd-pleasers
around the?winter
holidays or a favorite
for?any time of the
year. This arrangement
will challenge students,
while fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert.A
Suitable for Grades 3
through 5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm.A 16-19, in the Basses
and m.A 34A in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em>A in this
movement. March: A Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-restA
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement toA
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
A
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional
8va<
span class=s4> passages,
allowing intermediate
groups to perform this in
time for the winter
holiday concert. Suitable
for Grades 3 through
5. To the
Director:Dance
of the Sugar Plum
Fairy:A steady tempo
is critical when
performing this movement,
as students may have a
tendency to rush during
the pizzicato sections.
There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original.
It
is important to maintain
clarity and
balance in performing
these passages as seen
in
mm. 16-19, in the Basses
and m. 34 in the
Cello and Bass.
The
balancing of the chords
will be a challenge
in
the execution of the many
sforzandos
em> in this
movement. March:Measures 2 and
4, and similar melodic
patterns that follow,
require the performers to
carefully balance their
forte/pianos
on beats 3 and 4,
along with the rapid
diminuendo. The contrasting
rhythmic patterns in mm.
5-8, and later throughout
this movement must line
up precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush,
and the upper strings
playing the
eighth-note/eight-rest
figure must
follow their section
leaders in executing this
in a unified manner.
While there is
no formal tempo change
from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the
movement to
accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the
p,
fand
sf,
requiring the performers
to recognize the
difference between all
three markings that frame
the chief melody. The
upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando
passage to the
end. Care must
be taken to use
anaccelerando
that works for
all
the players in the
particular
ensemble.. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5. To
the Director: Dance of
the Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the Basses
and m. 34 in the Cello
and Bass. The balancing
of the chords will be a
challenge in the
execution of the many
sforzandos in this
movement. March: Measures
2 and 4, and similar
melodic patterns that
follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-rest
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
Tchaikovsky was careful
to notate the p, f and
sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble. This
arrangement will
challenge students, while
fostering rhythmic
independence, execution
of bowing and pizzicato,
and the ability to
balance the melody with
the accompaniment
throughout the
arrangement. However,
ranges remain primarily
in first position with
some optional 8va
passages, allowing
intermediate groups to
perform this in time for
the winter holiday
concert. Suitable for
Grades 3 through 5.To the
Director:Dance of the
Sugar Plum Fairy: A
steady tempo is critical
when performing this
movement, as students may
have a tendency to rush
during the pizzicato
sections. There is a
regularly occurring
descending sixteenth-note
rhythmic figure that is
transcribed form the bass
clarinet part in the
original. It is important
to maintain clarity and
balance in performing
these passages as seen in
mm. 16-19, in the
Basses and m. 34 in
the Cello and Bass. The
balancing of the chords
will be a challenge in
the execution of the many
sforzandos in this
movement. March:
 Measures 2 and 4, and
similar melodic patterns
that follow, require the
performers to carefully
balance their
forte/pianos on beats 3
and 4, along with the
rapid diminuendo. The
contrasting rhythmic
patterns in mm. 5-8, and
later throughout this
movement must line up
precisely. Strings
playing the pizzicato
eight note, walking bass
line, must not rush, and
the upper strings playing
the
eighth-note/eight-restÂ
figure must follow their
section leaders in
executing this in a
unified manner. While
there is no formal tempo
change from mm. 40 to 41,
directors may need to
relax the tempo at the
beginning of the movement
to accommodate the
technical challenge of
the double time feel that
happens in m. 41. Trepak:
 Tchaikovsky was
careful to notate the p,
f and sf, requiring the
performers to recognize
the difference between
all three markings that
frame the chief melody.
The upper strings must be
careful to support the
melody in the lower
strings that begins in m.
33. Directors will
challenge their students
to have fun in the last
twelve measures with the
accelerando passage to
the end. Care must be
taken to use an
accelerando that works
for all the players in
the particular
ensemble.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians