Marche Slav

This arrangement, for an advanced orchestra, is very close to the original piece by
Tchaikovsky. It utilizes many bowing techniques such as tremolo, measured tremolo, and
double bows. itards, ranges up to !
th
position, syncopations, and ornaments, occur
throughout the piece. These components both challenge and educate the players. To play
the piece together and musically, the ensemble must follow the conductor throughout the
playing, and the conductor must know the layers of the piece and convey the emotions
and musical aspects. The mood changes throughout force the young string students to
play characteristically to the section. Marche Slav also allows for lessons on the
omantic era, nationalism, and Tchaikovsky"s life and other famous works.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.+, %.&.&'.,
-illiam Tell .verture
This level ' piece is a great way to introduce beginning players to opera. In '/0
time and , ma1or, students are able to break from the mold of 2 ma1or and 0/0 that so
many composers write for young orchestras. The piece begins with bow retakes that have
an eighth note rest in between, allowing for the players to learn the technique in a
simplified manor. .ther simplified techniques present in the piece are string crossings, 0
th
finger usage, and &3
th
note rhythms. To perform the -illiam Tell .verture, the students
must learn to watch the conductor and follow the tempo to keep from rushing passages
that even advanced players tend to speed through.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.,
,loria In 45celsis 2eo
,loria In 45celsis 2eo opens with a solo quartet or quintet, depending on skill
levels of bass availability, that shows off the ensemble"s most advanced players. +or the
rest of the piece, there is emphasis on matching bow length among the ensemble. If one
player or one section uses more or less bow than the others, their sound will be heard
amongst the uniformity. (lso, hooked bowings are reinforced in every section of the
orchestra"s part. This piece can act as a segue into the )aroque period and )aroque
musical styles.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.,
equiem 6The +ifth7
)eethoven"s +ifth equiem is appropriate for a high school orchestra. )ased off
of the Trans8Siberian .rchestra, the students will learn to appreciate both )eethoven and
Mozart without even knowing it. Though it is in the key of * minor, fingerings are not
included, allowing the students to e5periment with different positions that are
comfortable for them. Syncopations through meter changes add some challenges to the
music, but also add learning opportunities. #erfect octave eighth note passages require the
players to listen to the sections around them and ad1ust their pitch, which engages their
aural skills.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.2, %.&.&'.,
#eer ,ynt Suite 9o. &
(rranged by *arrie :ane ,ruselle, this version of the famous first suite is much
more musically accessible to intermediate players than the advanced original version.
There are still some difficult e5cerpts and techniques, such as 0
th
and !
th
position,
harmonics, trills, and accidentals. The fourth movement, In the ;all of the Mountain
<ing, is written in the key of , minor, which is difficult for young string players, but will
help upper strings learn to utilize shifting and low fingers, and cellos to utilize half
position and e5tensions. #laying the #eer ,ynt Suite 9o. & allows the teacher to create
lessons about other famous music that accompanies live action, such as )izet"s
:"(rlesienne.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.4, %.&.&'.,
The :abyrinth and the Man <ing
This piece is an e5citing '&
st
century composition that will keep students
interested in playing in orchestra while teaching them valuable techniques. +or e5ample,
the low strings play a hemiola ostinato passage while the first and second violins play
syncopated rhythms. In order to perfect this, the ensemble must have a solid
understanding of rhythm. -atching the conductor often is an absolute necessity to play
the hemiola, and the tempo also changes 3 times throughout. This piece individualizes the
sections of the ensemble, and gives each challenging passages that require practice. The
string bass part is e5tremely interesting, showcasing various double stops and accented
rhythms that the first violins will be 1ealous of.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.2, %.&.&'.,
(dventure on the ;igh Seas
(dventure on the ;igh Seas is in the key of 2 minor, providing difficult yet
achievable positions for a high school orchestra. The piece has two moods8 a slow theme
in the first violins, and a celtic theme that reaches all of the sections. The students will
feel as if they are in the popular movie =#irates of the *aribbean" while tackling >
rd

position, ritards, octave divisi"s, and rare off beat patterns in the upper strings. The low
strings parts are not as challenging as the violin parts, so this piece is appropriate for the
classic orchestra conundrum$ a strong first violin section with many players taking
private lessons, and a slightly less e5perienced cello and bass section.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.,
(fter the ain
This '?
th
century lyrical piece is as challenging as it is beautiful. -ith quarter note
triplet melodies in the violins and arpeggiated counter8melodies in the low strings, are
forced to internally subdivide the rhythms8 a skill that is often neglected in the high
school level. The violin parts are divided, giving the more advanced players the
opportunity to practice high positions without others feeling discouraged from playing
out by out of tune notes. :ong slurred passages are present in the cello part, which require
mature bow control to play. ( si5 bar syncopated passage opens the door to a lesson on
syncopated rhythms, something every high school musician can benefit from.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.,
,argoyles
,argoyles is a level ' piece that allows for the teacher to teach a lesson on ostinato, as an
@
th
note ostinato is always present, but shifts through the parts. The tempo is vivace con
fuoco, which is very quick for young players. Though it is quick, the notes are very
repetitive, so it is manageable to play but still teaches students to use appropriate bow
length in these passages. (nother bow technique utilize is the bow lift, a technique that
will also be new to young players. ,argoyles is a great introductory piece to fast tempos,
ostinatos, and bowing techniques.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.,
+arewell (ragog
This solemn piece from the well know book and movie series, =;arry #otter", will
keep young string players e5cited about playing their instrument. 4very instrument part
plays the simple melody, making this piece a great concert selection. #arents and other
relatives will be thrilled to hear their child playing +arewell (ragog. The harmonies are
often unison, and the students begin will develop aural skills and realize if they are out of
tune.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.,
(merican +olk Suite
(merican +olk Suite is a four8movement arrangement for an advanced orchestra.
Aack Aarrett arranges =)lack is the *olor of My True :ove"s ;air", =Turkey in the Straw"
and other tunes in a surprisingly sophisticated manor. Many slurred string crossings, high
positions, and time signature changes make this piece a diverse learning e5perience.
Teaching this piece can cover the following #ennsylvania state standards$
%.&.&'.(, %.&.&'.), %.&.&'.*, %.&.&'.2, %.&.&'.+, %.&.&'.,