SKU: 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).
SKU: KN.16756
UPC: 822795167566.
SKU: KN.16758
UPC: 822795167580.
SKU: KN.16755
UPC: 822795167559.
SKU: KN.16757
UPC: 822795167573.
SKU: KN.16752
UPC: 822795167528.
SKU: KN.16754
UPC: 822795167542.
SKU: AP.44889S
UPC: 038081516080. English.
Based on Alexander Dumas' adaptation of E. T. A. Hoffman's story The Nutcracker and the Mouse King, the ballet premiered in December of 1892 in St. Petersburg, Russia. Tchaikovsky selected eight pieces from the ballet and created The Nutcracker Suite, which became an immediate success and to this day remains one of the most popular ballets, and contains some of the best-loved Christmas music. This suite of three selected short movements scored especially for beginners includes March, Dance of the Reed Flutes, and Russian Dance (Trepak). The movements can be performed individually or together. A superb classical transcription for teaching and performance to be programmed during the holidays or any time of the year. (3:45).
SKU: HL.8725267
UPC: 884088513375. 9.0x12.0x0.041 inches.
Here are all your favorite Nutcracker themes rolled into a clever and lighthearted medley. For added excitement, appoint an official time keeper and use a big hourglass-type egg timer or a projected digital stopwatch so the audience can track your progress as the band frantically races to finish under 3 minutes. (An accelerando is built-in at the end in case you need to make up time!).
SKU: 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.
SKU: 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:
SKU: CF.CAS110F
ISBN 9781491151662. UPC: 680160909162. 9 x 12 inches.
SKU: AP.50023S
ISBN 9781470659172. UPC: 038081576435. English.
Tchaikovsk y strolls the streets of the French Quarter! Arranger Michael Kamuf reimagines the Overture, Dance of the Sugar Plum Fairies, and Trepak themes by using different New Orleans-based grooves, rich jazz harmony, and plenty of syncopation and rhythmic twists. Students will love playing these themes, and your audience will dance in the aisles! A New Orleans Nutcracker Suite is the perfect addition to your holiday program. Though written as a suite, each movement can stand alone. (6:00).
SKU: AP.50023
ISBN 9781470659165. UPC: 038081576428. English.
