Classical Transcriptions for Strings Friday, December 17, 2021
Teachers are obsessing over these classical transcriptions
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recommended by Megan W., Orchestra Specialist
Abduction from the Seraglio (Overture) by W.A. Mozart/arr. Andy Masters, Grade 2
Experience the thrill of playing an authentic Mozart opera overture while developing spiccato bowing technique and left hand extensions through multiple key centers. At a lightning-fast tempo, students will feel the accomplishment of their hard work.
Themes from Strauss Tone Poems by Richard Strauss/arr. Michael Hopkins, Grade 3
A leading German composer of both instrumental and vocal music during the late Romantic era and 20th century, Richard Strauss achieved his fame with his tone poems for large orchestras, including “Don Juan,” “Death and Transfiguration,” “Till Eulenspiegel’s Merry Pranks,” and “Also Sprach Zarathustra.” This accessible arrangement for string orchestra of famous themes from his tone poems offers an opportunity for young musicians to experience the power and beauty of Strauss’ music.
1812 Overture by Tchaikovsky/arr. Deborah Baker Monday, Grade 4+
This arrangement includes the gorgeous opening in the original key of Eb major, the exciting C minor imitative, and the transitional section arriving at the iconic military theme. Following is a unique offering of favorite themes, meticulously presented, that arrive at a spectacular finale.
Sinfonietta for Strings by Anthony Granata, Grade 2
Written specially to help young players gain confidence and build upon their beginning playing abilities, “Sinfonietta for Strings” by Anthony Granata echoes the composition style of the classical period. A Sinfonietta is a smaller and lighter version of the symphony. Set in the key of G major, students will love the broad and vigorous unison opening, the sudden change to E minor, and the mixture of dialogue and easy counterpoint interwoven throughout the piece. This piece will help your students develop skills in proper right-hand bow facility, simple slur and bowing patterns, common rhythms, identification of accidentals, and use of dynamics to achieve a very strong and dramatic sound.
Viva Amadeus! (based on Eine Kleine Nachtmusik) by W.A. Mozart/arr. Richard Meyer, Grade 2
It’s Mozart with a Latin twist! “Viva Amadeus!” arranged by Richard Meyer is a charming reworking of “Eine Kleine Nachtmusik.” It is sure to make your audience smile while providing your students with opportunities to work on syncopation and “south of the border” dance rhythms. Fun for everyone, as all the sections take turns stepping into the melodic spotlight. Latin percussion parts add to the cha-cha feel of this irresistible celebration. Olé!
Allegro Presto (from Symphony #2) by Joseph Bologne, Chevalier de Saint-Georges/arr. Deborah Baker Monday, Grade 2.5-3
Spotlight one of the first known classical composers of African ancestry with this incredible arrangement showcasing the music of De Saint-Georges, a Black contemporary of Mozart. Born the son of a slave and white plantation owner, he became a master fencer, violin virtuoso, conductor and composer. This vibrant and energetic movement from his second symphony is an amazing choice for any program!
Night on Bald Mountain by Modeste Moussorgsky/arr. Carrie Lane Gruselle, Grade 3.5-4
The opening eerie flutters and surges combine with the fiendish booming of the low strings in the iconic opening of this famous tone poem. Expertly arranged to sound remarkably authentic yet extremely playable, this setting offers the opportunity to explore one of the most well-known pieces in the repertoire.
Bacchanale by Liam Ramsey-White, Grade 3.5
“Bacchanale” is a frantic dance full of reckless abandon. Taken from the name of the Roman god of wine Bacchus, this work is a festive celebration. It starts with lyrical melodies juxtaposed against sharp, driving motor-like rhythms. The middle section consists of a tempo modulation into a contrasting tune filled with longing, but the party resumes and finishes in a spectacular style. Staccato, spiccato and legato articulations are explored along with accidentals, accents and bow lifts.
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About the Author:
Megan W., originally from Pittsburgh PA, is happy to call Columbus and Stanton’s Sheet Music “Home.” As a musician, Megan has played in marching and concert bands, youth orchestras, full orchestras, small ensembles, and a few choirs. Her interests include fiddling, reading, writing, martial arts and yoga.