Jig from St. Paul's Suite Cover Image

Jig from St. Paul's Suite: Conductor Score & Parts

$14.95 USD
$14.95 USD
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Jig from St. Paul's Suite Cover Image
Jig from St. Paul's Suite: Conductor Score & Parts

Jig from St. Paul's Suite: Conductor Score & Parts

For Cello Quartet and Double Bass

By Gustav Holst / arr. Lynne Latham

Grade: 3

Item: 36-52706009
$14.95
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Description
Cello 1 and 2 get into treble and tenor clefs, but everyone gets something fun. Should be accessible for accomplished high school ensemble.

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Additional Details
Series: Latham Music - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887070-5
ISBN13: 978-1-63-887070-8
UPC: 660355072543
SKU: 36-52706009
Instrumentation: Cello Quartet with Double Bass

More about this title

About the Composer: Gustav Holst

Gustav Holst (1874-1934) was an English composer whose gift for melody and orchestration made him one of the most performed classical composers in schools and concert halls. His large-scale works like The Planets are staples of music education, but his chamber music reveals an equally inventive mind at work in smaller forms. Holst wrote for young musicians throughout his career, understanding that accessibility and artistic substance need not be at odds.

Why we love this

Latham's arrangement captures the infectious energy of Holst's original suite while making it genuinely playable for strong high school cellists. The clef changes ask something real of your first and second chairs without becoming a reading endurance test, and the double bass gives you options for how robust your bass line can be. It's the kind of piece that makes cellists actually want to practice their parts.

What to expect

Spirited and playful, with the kind of syncopated rhythmic snap you expect from a jig. The writing sparkles when the voices interweave, and there's real lightness to it, even when the texture gets thicker.

Who it's for

Cello quartets with double bass in secondary schools and community ensembles where your cellists have solid technique and solid-range reading skills. If your section has at least two players comfortable reading above middle C, you have the foundation to make this work.

How to get the most out of it

  • Use the double bass to anchor the rhythmic momentum; the dialogue between upper and lower cellos lands best when the bass stays locked in.
  • Balance the treble clef passages in Cello 1 by bringing those players forward slightly in the mix so the higher register doesn't disappear.
  • Let the jig breathe naturally. Resist the urge to rush; the humor and charm come from clean articulation and rhythmic clarity, not speed.
  • Mark the clef changes in rehearsal so Cello 1 and 2 know exactly where they shift. A few isolated run-throughs of just those measures prevents stumbles in performance.

How to use it

This works beautifully as a chamber opener for a full orchestra concert or as a standalone chamber piece on a spring pops program. It's short, memorable, and stands up well next to lighter contemporary works or other Holst selections.

Skills your students will build

  • Reading and managing clef changes within a single part (Cello 1-2)
  • Rhythmic independence and syncopation in ensemble context
  • Intonation and blend across four-part cello writing
  • Articulation clarity at moderate to brisk tempos
  • Part awareness and listening to multiple lines simultaneously

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