Tchaikovsky's The Nutcracker (Cello)

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.

SKU: 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.

SKU: FH.VC7

ISBN 978-1-55440-543-5.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Level 7:
Il barbiere di Siviglia: Overture - Rossini, Gioachino
Carmen: Prelude to act 1 - Bizet, Georges
Coriolan Overture, op. 62 - Beethoven, Ludwig van
Symphony No. 94 (Surprise), Hob. I:94: I,IV - Haydn, Franz Joseph
Ruslan and Ludmilla: Overture - Glinka, Mikhail
Peer Gynt Suite No. 1, op. 46: I,III,IV - Grieg, Edvard
Level 8:
Incidental Music to A Midsummer Night's Dream, op. 61: I - Mendelssohn, Felix
Symphony No. 8, op. 88: I,IV - Dvorak, Antonin
The Nutcracker, op. 71: Russian Dance, Waltz of the Flowers, Pas de deux - Tchaikovsky, Pyotr Il'yich
Symphony No. 8 (Unfinished), D 759: I,II - Schubert, Franz
Die Zauberfloete, K 620: Overture - Mozart, Wolfgang Amadeus
Symphony No. 40, K 550: I,IV - Mozart, Wolfgang Amadeus
Level 9:
Symphony No. 9, op. 125: II,IV - Beethoven, Ludwig van
Symphony No. 8, op. 93: III - Beethoven, Ludwig van
Serenade for Strings, op. 22: III,IV,V - Dvorak, Antonin
Piano Concerto No. 2, op. 83: III - Brahms, Johannes
Serenade for Strings, op. 48: I,II,III,IV - Tchaikovsky, Pyotr Il'yich
Symphony No. 4 (Italian), op. 90: I,IV - Mendelssohn, Felix
Symphony No. 3, op. 90: III,IV - Brahms, Johannes
Symphony No. 35 (Haffner), K 385: I,IV - Mozart, Wolfgang
Le nozze di Figaro, K 492: Overture - Mozart, Wolfgang Amadeus
Level 10:
Group 1:
Variations on an Original Theme (Enigma), op. 36: Variation 12 - Elgar, Edvard
Dichter und Bauer: Overture - Suppe, Franz von
Messa da Requiem: III - Verdi, Giuseppe
Guillame Tell: Overture - Rossini, Gioachino
Group 2:
Symphonie fantastique: II,III,V - Berlioz, Hector
Symphony No. 4, op. 36: I,II,IV - Tchaikovsky, Pyotr Il'yich
Symphony No. 5, op. 67: I,II,III - Beethoven, Ludwig van
Symphony No. 4, op. 98: I,II,III,IV - Brahms, Johannes
Symphony No. 6 (Pathetique), op. 74: I,II - Tchaikovsky, Pyotr Il'yich
Symphony No. 2, op. 73: I,II,IV - Brahms, Johannes
Associate:
Group 1:
Symphony No. 5, op. 100: I,II,III,IV - Prokofiev, Sergei
La mer: I,II - Debussy, Claude
The Bartered Bride: Overture - Smetana, Bed_ich
Symphony No. 5, op. 47: I,II,III - Shostakovich, Dmitri
Group 2:
Matthaus-Passion, BWV: Komm, suesses Kreutz - Bach, Johann Sebastian
Don Juan, op. 20 - Strauss, Richard
Ein Heldenleben, op. 40 - Strauss, Richard
Verklaerte Nach1, op. 4 - Schoenberg, Arnold.

SKU: FH.VC1

ISBN 978-1-55440-537-4.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Baroque and Classical Repertoire:
Menuet and Trio, W.O 10, no. 3 - Beethoven, Ludwig van arr. Watson Forbes
Rondeau (from The Fairy Queen) - Purcell, Henry arr. Watson Forbes
Sarabande - Handel, George Frideric arr. Jason Noble
Andante grazioso - Mozart, Wolfgang Amadeus arr. Jason Gray
Hornpipe a l'Inglese - Galliard, John Ernest arr. Christine Donkin
Vittoria, mio core! - Carissimi, Giacomo arr. Christine Donkin
Traditional and Romantic Repertoire:
Tambourin - Rameau, Jean-Philippe arr. Christine Donkin
All the Pretty Little Horses - American lullaby arr. Jason Gray
Barbara Allen - British folk song arr. Forrest Kinney
Simple Gifts - Brackett, Joseph Jr. arr. Forrest Kinney
March (from The Nutcracker) - Tchaikovsky, Pyotr Il'yich arr. Jason Noble
Londonderry Air - Irish folk song arr. Forrest Kinney
Repertoire Composed After ca 1930:
A Little Child's Dance - Konicek, Zdenek
...I Say Ca-rib-'be-an - Birston, Harold
Sonata da camera - Matz, Rudolf
- First Movement: Adagio
- Fourth Movement: Allegro vivace
Grab the Slippery Toad! - Lumsden, Caroline and Ben Attwood
Hungarian Stomp - Wedgwood, Pam
Budapesto - Cheney, Carey
Wild West - Blackwell, David and Kathy Blackwell
Livi's Blues - Cheney, Elliott W.

SKU: CF.YAS240

ISBN 9781491164921. UPC: 680160923830. Key: D major.

This graceful arrangement elegantly weaves together four classic winter melodies: Waltz of the Snowflakes from Tchaikovsky's Nutcracker Suite, Skater's Waltz by Émile Waldteufel, In the Bleak Midwinter by Gustav Holst, and Winter from The Four Seasons by Antonio Vivaldi. Scored in 3/4 time with a consistent tempo throughout, the piece allows every section of the orchestra to shine with melodic material. The softly joyful key of D major with optional harp (playable by piano) and glockenspiel will add a moment of classical lightness to any winter or holiday concert.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: GS.BSG4PROMAR-P

8.5 x 11 inches.

30 energetic pieces to get your audience motivated, and their toes tapping. All four parts share the interesting melodic bits, and the relentless rhythms that provide the energy to forge ahead. You will enjoy sharing some old favorites, like Mendelssohn's Wedding March, Wagner's Bridal March, and for you Alfred Hitchcock fans, Gounod's Funeral March of a Marionette. This collection also includes works by Sousa, Frederick II, Joplin, Mozart, Schubert, etc.

SKU: CF.YAS240F

ISBN 9781491165324. UPC: 680160924233.

This graceful arrangement elegantly weaves together four classic winter melodies: Waltz of the Snowflakes from Tchaikovsky's Nutcracker Suite, Skater's Waltz by Émile Waldteufel, In the Bleak Midwinter by Gustav Holst, and Winter from The Four Seasons by Antonio Vivaldi. Scored in 3/4 time with a consistent tempo throughout, the piece allows every section of the orchestra to shine with melodic material. The softly joyful key of D major with optional harp (playable by piano) and glockenspiel will add a moment of classical lightness to any winter or holiday concert.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: BT.EMBZ14407

Hungarian-English-Germ an-French.

This volume in Leggierissimo series contains character pieces and dances, most of them transcriptions of piano pieces, though they also include excerpts from the ballets Swan Lake, The Nutcracker and The Sleeping Beauty.

This volume in the Leggierissimo series contains character pieces and dances, most of them transcriptions of piano pieces, though they also include excerpts from the ballets Swan Lake, The Nutcracker and The SleepingBeauty.Instru mentation: 3 vl1, 3 vl2, 3 vl3, 2 vlcThe Leggierissmo series - growing repertoire for children's and youth string orchestras (position 1)

Die Leggerierissmo-Rei he von Editio Musica Budapest umfasst Stücke, mit und an welchen Kinderstreichorchester wachsen können. Jede Ausgabe ist in der ersten Lage spielbar und enthält Partitur und Stimmen (Violine 3 entspricht Viola).Die Ausgabe Tchaikovsky: Dreizehn leichte Stücke enthält Charakterstücke und Tänze, die meisten davon ursprünglich für Klavier geschreiben, aber auch Auszüge aus Schwanensee, dem Nussknacker und Dornröschen. Enthaltene Stimmen: 3x Violine 1, 3x Violine 2, 3x Violine 3, 2x Cello.

La collection Leggiero & Leggierissmo proposée par Editio Musica Budapest est une édition enrichie de pièces pour Orchestre Cordes Junior, dans un arrangement de degré de difficulté facile. Elle comprend des œuvres de compositeurs classiques et contemporains ainsi que des transcriptions de pièces faciles. La possibilité de substituer la partie d'alto par un 3e violon facilite l'interprétation des morceaux. Ces arrangements, qui favorisent l'acquisition d'une expérience musicale complète, sont l'œuvre des meilleurs pédagogues et compositeurs. Les annotations figurent en langue française. Le recueil Tchaikovsky: Treize Etudes Légères contient des piècesde caractère et des danses, transcrites pour orchestre cordes junior, mais également des extraits du Lac des Cygnes, Casse-Noisette, et La Belle au Bois Dormant.Instrumentati on: 3 vl1, 3 vl2, 3 vl3, 2 vlc.