Nutcracker Ballet, Set II ("March of the Nutcracker" and "Trepak"): 1st Percussion
Nutcracker Ballet, Set II ("March of the Nutcracker" and "Trepak"): 1st Percussion Sheet Music Preview

Nutcracker Ballet, Set II ("March of the Nutcracker" and "Trepak"): 1st Percussion

By Peter Ilyich Tchaikovsky / arr. Merle J. Isaac

Grade: 3.5

Item: 00-PC-0002345_PC1
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Description
Adapted for full orchestra by Merle Isaac, this second set of well-known music from the Tchaikovsky ballet is cheerful, jaunty, and lively with rhythm. Excellent music for holiday concerts. Featuring: March of the Nutcracker (2:38).

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Nutcracker Ballet, Set II ("March of the Nutcracker" and "Trepak"): 1st Percussion 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: Belwin Concert Full Orchestra
Publisher: Alfred Music
Page Count: 176
SKU: 00-PC-0002345_PC1

More about this title

About the Composer: Peter Ilyich Tchaikovsky

Tchaikovsky (1840, 1893) shaped the sound of Russian classical music while wrestling with deeply personal artistic struggles. His gift for orchestration and ability to write melodies that lodge instantly in the listener's mind made him one of the most performed composers of the 19th century, and his influence extends far beyond concert halls into ballet, film, and popular culture.

The Nutcracker, premiered in 1892, stands as one of his most enduring works. What began as a commission for the Imperial Ballet in Saint Petersburg became a fixture of holiday seasons worldwide, beloved equally by children hearing it for the first time and by musicians who find new dimensions in the score with each performance.

Why we love this

Merle Isaac's orchestration captures the propulsive energy of these two movements without overwhelming younger players. The March and Trepak sit at exactly the right difficulty level for orchestras that want to program recognizable, genuinely exciting Tchaikovsky without overextending the ensemble. Both pieces are short enough to feel impactful on a concert without demanding rehearsal time that could go elsewhere.

What to expect

Bright, propulsive, and deeply fun. The March struts with cheerful confidence while the Trepak dances with infectious rhythm and Russian character. This is Tchaikovsky at his most immediately pleasurable, music designed to make audiences smile.

Who it's for

Orchestras at the 3.5 grade level looking for holiday concert repertoire that feels festive without requiring advanced technique or extended rehearsal. This set works well for conductors who want pieces that engage both experienced and developing players.

How to get the most out of it

  • Establish the march's steady pulse early in rehearsal; once it sits comfortably in the ensemble's body, the jaunty character emerges naturally rather than feeling forced.
  • Balance the inner voices in the March so the melody doesn't overshadow the rhythmic foundation that gives the piece its drive.
  • Let the Trepak's faster material breathe slightly; rhythmic precision matters, but a little space between phrases keeps it playful rather than mechanical.
  • Use the sections as rehearsal checkpoints. The Mar and Trepak each have natural stopping points where you can assess clarity before moving forward.

How to use it

These two pieces anchor a holiday concert nicely: together they're substantial enough to feel like a major work without consuming the entire evening. They also pair well with lighter seasonal material or as the opening of a program where you want to establish an energetic, festive mood from the first downbeat.

Skills your students will build

  • Maintaining steady tempo through rhythmic figures that emphasize pulse and subdivision
  • Balancing melodic lines against supporting accompaniment textures
  • Executing articulations (particularly staccato and marcato) that define the March and Trepak character
  • Responding to conductor gesture while managing independent part work
  • Understanding orchestral color and how different sections contribute to overall timbre

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