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Dreidel Dance

By Robert Thurston

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Band or Wind Ensemble Bass Clarinet in Bb, Bassoon, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Euphonium, Euphonium T.C. in Bb, Flute 1, Flute 2, Horn 1 in F, Horn 2 in F, Horn 3 in F, Horn 4 in F, Mallet Percussion, Oboe, Percussion 1, Percussion 2 and more. - Grade 5
Composed by Robert Thurston. SWS FS. Carl Fischer Symphonic Performance Series. Score and part(s). With Standard notation. Duration 0:04:40. Carl Fischer Music #SPS76. Published by Carl Fischer Music (CF.SPS76).

Item Number: CF.SPS76

ISBN 9781491147719. 9 x 12 inches.

Dreidel Dance is a lighthearted theme-and-variations mashup of The Dreidel Song and Hava Nagila, running both tunes through a stylistic funhouse and winding up in a flurry of high-speed energy. This arrangement is not for the faint of heart, but this whirlwind presentation by master arranger Robert Thurston is well worth the effort.

Dreidel Dance is a lighthearted theme-and-variations mashup of aThe Dreidel Songa and Hava Nagila, running both tunes through a stylistic funhouse and winding up in a flurry of high-speed energy . The piece is written without key signatures, but only because of the frequency of key changes and certain sections in heavily sharped or flatted keys . Take extra care with accidentals and be sure they apply throughout a given measure . If a courtesy areseta accidental doesnat appear in the following measure, assume the note is natural . The statement of the melody at mm . 16-31 is intentionally scored to sound a little treble-heavy and atoy-like .a At mm . 32-41, the mood turns a bit cartoonishathe solo trumpeter should feel free to experiment with mute/plunger combinations to heighten the comic effect . At m . 59, even though the horn section doubles the solo clarinet line, the clarinet should be the prominent voice, and the clarinetist can give the line a bit of klezmer attitude! Likewise, the solo alto sax at m . 110 and the solo clarinet at m . 111 should have free expressive rein in the klezmer style . In a similar vein, the trumpet section soli at m . 98 almost begs for a bit of mariachi flavoranot exactly what a listener might expect in a Hanukkah piece, but thatas part of the fun and surprise . Tempo is crucial throughout the piece, increasing a few clicks at a time through the various mood changes before slowing into that noisy chord at m . 163 . At the aMolto pesantea (m . 165), once you begin the accelerando in m . 167, it should keep accelerating all the way to m . 173 . Then, make the most of the allargando before launching into the coda at m . 175 to finish at the fastest tempo the ensemble can handleaas my college band director, the late Dr . Jim Croft, used to like to say, aAs fast as possible, but no faster!a

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