The writing, and the range, will generally be unsuitable for at-pitch B♭ instruments such as the trumpet or cornet and lower B♭ instruments such as the euphonium shouldn't use this part as the sound will be muddied by the lower octave.īassoons - Cellos can play from this part (though in the first instance they should use their dedicated part). This would include violins, recorders and flutes (especially if there is a surplus, after having placed some on the dedicated flute line).Ĭlarinets in B♭ - Other than soprano saxophones, which are highly unlikely to be found in a school orchestra, there are no obvious contenders to join the clarinets on this line. instruments which play the written pitch) can play from this stave. Oboes - Any mid-range C instruments (i.e. Violins also have their own dedicated part, so it's suggested that that part should have sufficient instruments on it before any are put on the flute line. Because of the range of the flute, violinists attempting this line will find themselves playing in the higher positions. Notes on orchestrationįlutes - This line can also be played by violins. In most cases, the optional piano accompaniment will fill any gaps, and may well be useful for rehearsals, though in most cases it would be best to do without it for performance, if possible. Alternative notes have been provided for some more challenging situations. The standard of playing necessary is about ABRSM Grades 4/5, though some parts may be marginally easier or trickier in places. Notes on Grade 4-5 parts (Written by arranger Gareth Glyn)Īll the arrangements present a short (3-minute) excerpt or abridgment of the work named in the title, and have been conceived in such a way that many different combinations of instruments can be successfully employed in playing them, even if your school hasn't got one or more of the instruments shown on the score. In most cases, the Grade 4-5 optional piano accompaniment parts will fill in any gaps, and will be useful for rehearsals or even in performance alongside an ensemble performing entire beginner and/or intermediate parts. The standard of playing for the intermediate parts is based around ABRSM Grade 1-3.
As much as possible, I have also tried to move to adjacent notes/strings, thus avoiding big leaps. The standard of playing for the beginner parts is based around the first few notes I'd expect the musician to learn, and basic semibreve, minim, crotchet, quaver rhythms. The beginner and intermediate arrangements have been orchestrated for many different instruments, from flute to ukulele, however many different combinations of instruments can be used, even if your school has one or more that is not listen in the score! Where as the Grade 4-5 arrangements are around 3 minutes each, the beginner parts are between 60-90 secs, allowing for the stamina of a young musician who is used to playing pieces of similar duration. This enables you to involve players of different abilities in one ensemble, all performing the same piece.
Some of these Lyric Pieces are quite easy to play and are often used in grade exams.įrom the arrangers: Notes on pre-Grade 1 and Grade 1-3 parts (Written by Andrew Smith)Īll the beginner and Grade 1-3 arrangements are short excerpts of the work named in the title and complement the Grade 4-5 arrangements. Grieg also wrote a lot of piano pieces which describe simple stories, places and events. Grieg took the best bits of his background music and made an orchestral suite which is very well known and made the Peer Gynt character recognisable around the world. The character of Peer Gynt is even older and has been a Norwegian folk tale for many centuries. In the Hall of the Mountain King comes from undoubtedly his most famous work - Peer Gynt, which was written in 1875 as background music to a famous play. Grieg was taught piano by his mother from the age of just 6 and then when he was a teenager, a famous violinist spotted his talent and persuaded his parents to send him to music school in Germany, and so his music career began. Many of his pieces were based on Norwegian fairy stories and melodies, and over 100 years since his death he is still his country's most respected composer. Grieg was a composer who firmly put his country, Norway, on the musical map. Edvard Grieg BORN: 1843 / DIED: 1907 / NATIONALITY: Norwegian
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