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Fiddle-Faddle (for Soloist and Full Orchestra): Full Orchestra Conductor Score & Parts

$72.00 USD
$72.00 USD
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Fiddle-Faddle (for Soloist and Full Orchestra) Cover Image
Fiddle-Faddle (for Soloist and Full Orchestra): Full Orchestra Conductor Score & Parts

Fiddle-Faddle (for Soloist and Full Orchestra): Full Orchestra Conductor Score & Parts

Violin, Viola or Cello Solo

By Leroy Anderson / arr. Jack Bullock

Grade: 4.5

Item: 00-29697
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Description
The soloist "sizzles," the orchestra "supports" and the experience is a first-class musical experience in this adaptation of music from one of the greatest composers of light classical music. Using the exact pitches of the original as well as the wonderful, playful Anderson sound, this piece will provide a perfect change of pace during a concert or make a great encore. The solo can be performed by violin, viola or cello. Also available for string orchestra! (4:20)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Fiddle-Faddle (for Soloist and Full Orchestra): Full Orchestra Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Pop Concert Full Orchestra
Publisher: Alfred Music
Page Count: 234
UPC: 038081320649
SKU: 00-29697

More about this title

About the Composer: Leroy Anderson

Leroy Anderson (1908, 1975) carved out a distinctive niche in American music by composing accessible, thoroughly enjoyable orchestral works that never sacrificed craftsmanship for charm. His gift was the ability to write pieces that sound effortless and witty while maintaining genuine musical substance; orchestras and audiences have returned to his catalog repeatedly because these works deliver consistent joy without pretension.

Why we love this

Anderson's orchestration crackles with personality, and this arrangement preserves that sparkling character while giving a soloist room to shine. The interplay between solo and orchestra creates genuine musical conversation rather than accompaniment, making it rewarding for both ensemble and featured player.

What to expect

Nimble, witty, and genuinely fun. The music bounces along with bright orchestration and a conversational solo line that dances over and around the ensemble's rhythmic support, creating the sensation of a musical conversation between old friends.

Who it's for

Directors programming a mixed-level orchestra that wants to feature a strong soloist without stepping into heavy concerto territory. This works equally well as a concert showpiece or an encore that sends audiences out smiling.

How to get the most out of it

  • Balance the soloist's lines against the orchestral texture by having the featured player rehearse with a mix of the full orchestra sound rather than just winds or strings alone; this builds confidence in cutting through without forcing.
  • Keep the tempo conversational and fluid. Anderson's rhythmic figures feel bouncy and playful, not mechanical; let the orchestra breathe through the accompaniment patterns.
  • Shape the solo passages with genuine melodic contour. The 'sizzle' comes from phrasing and articulation clarity, not from rushing or grinding away at the notes.
  • Mark cues clearly in all parts so the soloist and orchestra lock together during the busier passage work without losing the light, energetic character.

How to use it

Place this on a concert where it can offer real contrast to heavier or more formal repertoire; it's an ideal palate cleanser mid-program or a perfect final encore. The four-minute-plus duration sits comfortably without overwhelming a program built on more substantial works.

Skills your students will build

  • Solo-ensemble balance and communication
  • Light articulation and phrasing in fast scalar passages
  • Maintaining rhythmic precision within conversational phrasing
  • Orchestral texture awareness across multiple sections

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