Five Little Dances (arr. Robert Longfield): String Orchestra Conductor Score & Parts

Robert Longfield's arrangement opens Creston's keyboard suite to string ensembles, making this charming music available to programs that would otherwise never encounter it. The Grade 3-4 scoring preserves the character and harmonic interest of the original while remaining thoroughly playable, and the moderate length makes it an intelligent addition to concerts where you need substantial repertoire without overextending rehearsal time.

Creston's dances sparkle with rhythmic vitality and colorful harmonic surprises. Each movement has its own personality, from sprightly to lyrical to playful, creating a suite that keeps audiences engaged through genuine musical content rather than spectacle.

String orchestras at the intermediate level looking for concert repertoire with real substance. This works equally well for festival programming, spring concerts, or as a centerpiece that pairs intelligently with lighter fare or more demanding contemporary works.

• Treat each dance as a distinct character study. Even though they're short movements, they have genuine personalities; resist the temptation to rush or blend them into one generic sound.
• Balance the string sections carefully so inner voices contribute their harmonic movement rather than disappearing into texture. These dances lean on that secondary voice writing.
• Let the phrasing breathe naturally. Creston's melodies unfold with intent, so mark clear phrase arrivals and shape through dynamics rather than relying on tempo variation.
• Record a run-through early in rehearsals. Hearing the full arc of all five movements helps students understand how they connect and where the real contrasts live.

Pair this with other mid-20th-century American works to create a thematic concert, or use it as a bridge between a classical period piece and something more adventurous. The moderate performance time and festival appeal make it ideal for competitions where you want programming that impresses adjudicators without demanding soloistic fireworks.

• Balancing ensemble sound while maintaining inner voice independence
• Sustaining rhythmic vitality across multiple short movements
• Shaping phrases through dynamic contour rather than tempo fluctuation
• Recognizing harmonic movement in mid-20th-century idiom