Revelry for String Orchestra and Percussion: Conductor Score

Caputo writes with a genuine understanding of what middle school orchestras need: pieces that introduce genuine technical challenges without overwhelming students, wrapped in music that's genuinely fun to play. The quirky march character keeps rehearsals energetic while you're systematically building chromatic fluency, intonation across positions, and rhythmic precision.

Playful and slightly mischievous, with the unpredictable energy of something that refuses to take itself too seriously. The chromatic movement creates a modern, quirky flavor while the march framework keeps everything grounded and purposeful.

String orchestras at the early intermediate level (grades 2-3) who are ready to tackle chromatic passages and expanded technical vocabulary. This works equally well for a full string program pulling strong players from multiple grades or for a single heterogeneous class.

• Establish the staccato articulation early by singing the articulation pattern as a group before adding bowings; this prevents the tendency to rush the short notes.
• Mark the glissandi visibly on student parts so violoncellists know exactly where the shift occurs and have time to prepare the bow.
• Work the hooked bowings separately at a comfortable tempo, isolating just the bow changes without worrying about pitch or rhythm at first.
• Balance the syncopation against a steady pulse in the percussion section; have the timpani or bass drum player tap the main beat while strings work syncopated figures against it.

Fit this into your fall concert rotation as a palate-cleanser between heavier repertoire, or open a spring concert with it to establish an upbeat, approachable tone. It's also an excellent choice for a chamber concert showcasing what your intermediate students have accomplished by mid-year.

• Reading and intonating chromatic passages
• Second position for violoncello
• Dotted rhythm figures with accurate subdivision
• Hooked bowings and articulation changes within the bow
• Trills and glissandi as expressive devices
• Syncopation against a steady beat
• Staccato and accent execution with control