"Gavotte" and "Rigadon" from <i>Suite in A Minor</i> Cover Image

"Gavotte" and "Rigadon" from <i>Suite in A Minor</i>: String Orchestra Conductor Score

$7.00 USD
$7.00 USD
Skip to product information
"Gavotte" and "Rigadon" from <i>Suite in A Minor</i> Cover Image
"Gavotte" and "Rigadon" from Suite in A Minor: String Orchestra Conductor Score

"Gavotte" and "Rigadon" from Suite in A Minor: String Orchestra Conductor Score

By Georg Philipp Telemann / arr. Janet Farrar-Royce

Grade: 2.5

Item: 00-40423S
$7.00
Shipped

One moment…

Related Items

"Gavotte" and "Rigadon" from Suite in A Minor: String Orchestra Conductor Score & Parts

$49.00
View

"Gavotte" and "Rigadon" from Suite in A Minor: String Orchestra Conductor Score & Parts

$48.00
Suite in A Minor: String Orchestra Conductor Score & Parts" > View
Description
Delightful Baroque dance tunes perfectly arranged for string orchestra, these movements could be performed together or individually. Fantastic teaching pieces! This title is available in MakeMusic Cloud.

"Gavotte" and "Rigadon" from Suite in A Minor: String Orchestra Conductor Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: Belwin Intermediate String Orchestra
Publisher: Alfred Music
Page Count: 12
UPC: 038081453460
SKU: 00-40423S

More about this title

About the Composer: Georg Philipp Telemann

Georg Philipp Telemann (1681-1767) was one of the most prolific composers of the Baroque era, leaving behind nearly 4,000 works across every genre. A contemporary of Bach and Handel, Telemann held major posts in Frankfurt, Paris, and Hamburg, where he directed the city's five main churches and composed extensively for civic ceremonies and public concerts.

Telemann's gift for melody and his instinct for what works well in performance made his music deeply popular during his lifetime and accessible for generations of musicians after. His dance suites demonstrate his mastery of clear form, energetic rhythms, and instrumental writing that singers and players alike could enjoy without excessive technical demands. For music educators, Telemann remains essential because his pieces teach musicianship through material that feels natural to perform.

Why we love this

These two dances sit at that sweet spot where students engage with genuine Baroque repertoire without drowning in technical complexity. The arranging preserves the melodic charm Telemann intended while giving every section of a young string orchestra something to do, and the option to perform them together or separately makes them invaluable for pacing a concert or festival set.

What to expect

A gavotte is a moderate-paced French dance with a character both courtly and spirited, while the rigaudon (rigadon) is quicker and more playful, with bouncy rhythms that invite a lighter bow stroke. Together, they paint a picture of Baroque court life through music that feels both dignified and genuinely fun to play.

Who it's for

String orchestras at the early intermediate level will find these dances genuinely rewarding. The Grade 2.5 level allows third-year or late second-year players to build ensemble balance and style while tackling Baroque aesthetics without excessive fingering patterns or bow challenges.

How to get the most out of it

  • Establish a clear pulse before the opening phrase; both pieces thrive on rhythmic precision and forward momentum without rushing.
  • Balance the melody across your first violins and violas with careful dynamic control so ornamental figures (if present) enhance rather than overshadow the primary line.
  • Shape the phrasing in two-bar or four-bar units that match the dance character; these pieces ask for elegance, not drama.

How to use it

Open a concert or festival set with these two movements to establish period style and ensemble control early. The contrasting tempos and moods make them work as a pair, but either piece also stands alone perfectly well as a palate cleanser between weightier contemporary works.

Skills your students will build

  • Baroque dance form and articulation (courtly character vs. playful energy)
  • Ensemble balance and phrase shaping in diatonic melody
  • String section independence (viola and cello supporting roles)
  • Reading and interpreting ornaments and articulation markings typical of the Baroque period

You May Also Like