La Paloma (The White Dove): String Orchestra Conductor Score & Parts
By Sebastian Yradier / Arranged by Robert Longfield
Grade: 2
Item: 35-PK00250621
$50.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| La Paloma (The White Dove) - Full Score | $7.50 | |
| La Paloma (The White Dove) - Violin 1 | $7.00 | |
| La Paloma (The White Dove) - Violin 2 | $7.00 | |
| La Paloma (The White Dove) - Violin 3 (Viola Treble Clef) | $7.00 | |
| La Paloma (The White Dove) - Viola | $7.00 | |
| La Paloma (The White Dove) - Cello | $7.00 | |
| La Paloma (The White Dove) - Bass | $7.00 | |
| La Paloma (The White Dove) - Piano | $7.00 |
Parts Added to Cart!
Description
Everyone will recognize this famous tango (also known as "The Dove") and its signature traditional tango rhythms that mix triplets against dotted duple figures. Robert's new arrangement is well designed for string ensemble, superbly written with effective use of pizzicato, easy tremolo, and melody moments for all sections. Dur: 3:00
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00250621
More about this title
About the Composer: Sebastian Yradier
Sebastian Yradier was a Spanish composer and guitarist whose output shaped the sound of popular Spanish music in the 19th century. Born in Cádiz in 1809, Yradier became known for his skillful blending of Spanish folk traditions with sophisticated harmonic language, creating pieces that achieved remarkable international reach during his lifetime.
Why we love this
Longfield's arrangement captures everything that makes this melody endure: it's instantly recognizable, rhythmically engaging without overwhelming younger players, and structured so that every section gets genuine musical material rather than filler. The orchestration choices (pizzicato support, strategic tremolo, and shared melodic moments) transform a solo showpiece into a conversation between all four string parts.
What to expect
The piece has the warmth and nostalgic charm of a familiar waltz, but the tango undercurrent gives it sophistication and a subtle rhythmic swagger. Moments of pizzicato punctuation break up the lyricism with playful character, while the melody soars with the kind of singable grace that makes audiences lean in.
Who it's for
String orchestras at the Grade 2 level seeking repertoire that feels substantial without requiring advanced technical chops. This works equally well for student groups building confidence with distributed leadership and for community ensembles valuing accessible yet musically satisfying material.
How to get the most out of it
- Establish the tango rhythms early in rehearsal by isolating the interplay between the triplet figures and dotted patterns; lock these together before layering in melodic content.
- Balance the pizzicato sections so they provide rhythmic drive without overshadowing the melodic line; this is support work, not showcase material.
- Shape the melody phrases across multiple sections so transitions feel seamless rather than sectional; watch your bowing to maintain line continuity when the lead passes.
- Lean into the character of the piece by allowing a slight rhythmic lilt in the tango figures; straight quarter notes will flatten the traditional feel.
How to use it
This sits naturally in a concert pairing Spanish or Latin-influenced repertoire, or as a bridge between classical and more popular listening contexts. The three-minute duration makes it ideal for opening a program on a lighter note, or for a family concert where accessibility and recognition matter.
Skills your students will build
- Reading and executing tango rhythms (triplets against dotted duple figures)
- Pizzicato articulation and consistency
- Tremolo technique in context
- Trading melodic lines between sections with textural awareness
- Maintaining rhythmic drive in rhythmically active accompaniment