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Extra Score $8.00/Extra Parts $4.00

Rondo CapriccioArranged for String Orchestra and Piano

By Frank Rodgers

Copright 2003 MSB Publishing Co.I 84 I 6 Crownsgate Circle, Germantown, }l4D. 2087 4

All Rights Reserved - Printed in USA

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Rondo CapriccioArranged for String Orchestra and Piano

By: Frank Rodgers

INSTRUMENTATION

Conductor ScorePiano1"t violin2nd violinViolaGelloBass

About the Gomposer

Frank holds two college degrees, a Bachelor of Music Education (Violin Concentration)from Indiana University School of Music and a Master of Science Degree in SchoolAdministration from Old Dominion University School of Education. ln addition, he was aprofessional violinist with the Virginia Symphony Orchestra for 30 years and continuesperforming in a chamber orchestra and string quartet. He has dedicated his writing talentsto composing pieces for beginning string orchestras that are fun, easy, and entertaining.Over 90% of his works are original and delightfully entertaining. He considers his pieces tobe thought of as "musical desserts"; pieces you do not want to overuse, but nonethelessuse appropriately.

Most of his of pieces are intentionally designed in such a way that practically all studentswill experience substantial success the first time they begin their study. Again, one mustremember the real purpose of these works is to insure the students "instant success" thevery first time they are introduced. Frank firmly believes, instant success is a greatmotivator and a huge confidence builder which will hopefully encourage them to have theconfidence and desire to accept the challenge to study works of a more scholarly nature.To keep things simple, Frank intentionally avoids using slurs as well as low and highfingers, as they tend to dramatically slow down the desired fast learning curve he hopesthe students will achieve. Once again, his main goal is to motivate, not complicate. Eachpiece has a "Foreword" section which outlines the piece and provides teaching tips andsuggestions. ln addition, each piece has a Treble Clef Viola part which can be used aseither a2nd violin part or as a means of augmenting your viola section.MSB Publishing is proud to carry Frank's full complement of music and looks fonruard tohis new works.

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.frorato ea"ufub

Rondo capriccio is written as a rather freetance form of rondo. lt truerondo form, henceforth I ue capriccio in the title to signify its free fo s my

own creation. Fottowing that I intertwined two rather famitiar fotktune The

iitgo Boatman (Rusiian). For added.ctass, I borrowed orc bar fro from

Muslorgsky's nronurnental work, Paintings at an Exhibition (See meas. 15). lt frequentty appears invariouirenditions of the rondo therne throughout the work. For the most part, the notes are very easy.

The difficutty ties in the independent voicing annng the various instruments. lf your students are secure inpl.ayrng and lounting typicat 1st year rhythm patterns and can ptay ttre D major scate, they shoutd have

very littte probtem with this piece.

Each section has tle opportunity to showcase tle rondo theme. That way the oft matigned [ower strings(viotas, celtos, and basses) finatty have an opportunitytg slnwcase.their virtuosity white the viotirs harc toptay 2nd fiddle accompanying them (measures 25-28). Students wi[ have _ampte lPPortunities todemonstrate various bowing stytes m ra,ell as dynamic levets. Atthough it is a very fun and fairty easy piece

to ptay, it has tremendous educational potentiat. lf your students can execute dl tlE dynamics and stytisticdemands of this piece, they witl have accomptished an atistic triumph.

Mrrsical Outline

There are five (5) rather distinct sections. They are as fottows:

1. "Rondo Theme" - A/easures 1- 8

2. "Volga Boatman" - AAeasures 9-153. "Abbreviated Rondo Theme in lower strings with violin accompaniment - Measures 25-284. "Simple Gifts" with "Bagpipe" accompaniment" - Arleasures 33-395. "Modified Recapitulation of the Rondo Theme" - Aleasures 41-end

Mrrsical Terms and TechniqrresStudents witl need to understand and be abte to demonstrate the fotlowing:

1. BowStrokesRequired: d6tach5, d5tach6tancS(/), accentedstaccatol>;1, accentli;2. Dynamic terms: (p) piano, (f) Forte, (mp) mezzo piano, (rit.)getting slower3 .Divisi: Divide into two or more parts (Viotins - meas 25-28) Non Divisi: Ptay 2 strings simuttaneously4. Tempo: ANDANTE SOSTENUTO (Quarter note equals 80-84) AAoderately stow and sustained

Descriptions of the Variorrs Sections and Stylistic Suggestions

Rondo Theme: This theme shoutd be ptayed as smoothty and sustained as possibte. Suggestion: remindyour students to ston their bow speed as they approach tlre tip and the frog. lt has been my experiencethat beginning students often "jerk" their bows as they approach the extreme ends of the bow.

Volga Boatman: Cettc and basses must Lre a nell articulated marcato (accented staccato) to estabtish themusicatcharacter of the 2 bar ostinato pattern beginning in meas. 9. I would suggest they use the lowerhatf of the bow for this stroke for maximum control and heavy/l.oud sound. The viotas have a sornewhatcounter accompaniment figure which matches the legato styte of tie viotim (measures 11-14). Measure no.1 5 is the first appearance of the Mussorgsky bar mentioned in the opening paragraph.

Rondo Therne Played by Lower Strings: At rneasure no. 23, the viotins establish the eighth noteaccompaniment figure for the rondo theme. lt shoutd be a very light sound with the bow ptaced at orstightty above the middte. At rneasure no. 25, tvro things happen, (1) tfte viotirs become divisi and (2) theviotas, cettos, and basses ptay the rondo theme in bravura styte, using futl legato bow strokes.

Modified Recapitulation: This is not an exact repeat of the first eight opening bars of the rondo therne. I

made sorne stight changes in the nretodic lire and added a ritard for the [ast two measures. However, itshoutd be ptayed in the same sustained [egato styte as the beginning of the piece,

I am very confident this piece witt be a most rewarding experience for your orchestra. A pol.ishedperformance of this piece will not onty be demanding technicatty; it witt also be very demanding musicatty.An authentic performance of this piece witl undoubtedly be proof positive that your group has achieved anartistic triumph. lt is an excettent foundation piece which witl enabte your students to master moredifficutt and complex work. I extend my very best wishes to you and your orchestra for your continuedmusica[ growth.

MSB Publishing

By Frank M. RodgersConductor Score

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