The Three Cornered Hat: Three Dances from Part 2 (El Sombrero des Tres Picos) Cover Image

The Three Cornered Hat: Three Dances from Part 2 (El Sombrero des Tres Picos): Full Orchestra, Oversized Score

$92.00 USD
$92.00 USD
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The Three Cornered Hat: Three Dances from Part 2 (El Sombrero des Tres Picos) Cover Image
The Three Cornered Hat: Three Dances from Part 2 (El Sombrero des Tres Picos): Full Orchestra, Oversized Score

The Three Cornered Hat: Three Dances from Part 2 (El Sombrero des Tres Picos): Full Orchestra, Oversized Score

By Manuel de Falla, ed./arr. by Nancy M. Bradburd

Item: 36-A848501OS
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Description
The Three-Cornered Hat is a two-act ballet by Manuel de Falla that was commissioned by famed ballet impresario Sergei Diaghilev and premiered in 1919. Incorporating Spanish dance rather than classical ballet style, the music uses traditional Andalusian folk music in telling the comedic story of a miller and his wife's encounter with a dandified, but lecherous, magistrate. The Three Dances in this suite arranged by de Falla are taken from the second act of the ballet. Instrumentation: 3(3rd dPicc).2+EH.2.2: 4.3.3.1: Timp.Perc(5): Hp.Clst.Pno: Str (9-8-7-6-5 in set). 11x14 oversized full score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563539-6
ISBN13: 979-889-563-5391
UPC: 612735742263
SKU: 36-A848501OS
Instrumentation: 3(3rd dPicc).2+EH.2.2: 4.3.3.1: Timp.Perc(5): Hp.Clst.Pno: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Manuel de Falla

Manuel de Falla (1876-1946) stands as Spain's most celebrated composer of the twentieth century. His mastery of Spanish folk idiom, particularly Andalusian traditions, gave him a distinct voice among European modernists. De Falla studied composition in Madrid and later in Paris, where he absorbed influences from Debussy and Ravel while maintaining his deeply rooted Spanish identity.

For orchestras, de Falla's genius lies in his orchestration: he could extract maximum color and rhythmic vitality from traditional dance forms without compromising their authenticity. The Three-Cornered Hat remains his most frequently performed work, a testament to his ability to craft music that is simultaneously accessible, dramatically compelling, and musically sophisticated.

Why we love this

De Falla's orchestration in these dances is a masterclass in clarity and character. Each dance has its own distinct personality while maintaining the vibrant energy of Spanish folk traditions. This oversized score format lets conductors see the orchestral details with exceptional clarity, making it easier to shape the intricate rhythmic layers and coordinate the percussion and string textures that make these dances so effective.

What to expect

Sunlit and swaggering, with the irreverent humor of Spanish folk tradition meeting elegant orchestral craftsmanship. The music crackles with rhythmic invention and melodic vitality, evoking the warmth of Andalusia while maintaining a sophistication that engages both performers and audiences.

Who it's for

Conductors leading advanced orchestras who want to program a substantial Spanish work with genuine compositional depth and theatrical appeal. This arrangement works well for university orchestras, regional orchestras, and advanced high school ensembles with capable string and percussion sections.

How to get the most out of it

  • Shape the rhythmic figures in the strings with precision; de Falla's Spanish dance patterns demand exact articulation and clear accent placement to maintain the music's buoyancy and character.
  • Balance the harp and celesta with care so they register as harmonic color rather than melodic distraction, especially in passages where they support the harmony beneath the primary melodic line.
  • Engage the five percussion players as a unified section; coordinate their rhythmic ostinatos and accents to drive the dances forward without allowing any single player to dominate the texture.
  • Attend to the woodwind solos (particularly the cor anglais moments) with warmth and slight rubato to evoke the expressive qualities of Spanish song, even within the dance's strict rhythmic framework.

How to use it

These three dances sit perfectly as a standalone suite on a concert featuring Spanish repertoire or twentieth-century European works. They pair well with other ballet suites or with orchestral works that explore national folk traditions, and their manageable length (roughly 12-15 minutes total) makes them ideal for filling a strategic spot on a mixed program.

Skills your students will build

  • Conducting Spanish rhythmic idioms and syncopated patterns in ensemble
  • Balancing multi-layered percussion textures while maintaining forward momentum
  • Coordinating harp and celesta as color rather than melodic line
  • Shaping folk-derived melodies with character and historical authenticity
  • Reading and conducting from an oversized orchestral score with multiple transposing instruments

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