Two French Dances: String Orchestra Conductor Score

Phillips respects the baroque character of these dances while removing technical barriers that might intimidate beginning players. First position writing keeps the focus on tone, phrasing, and the distinctive rhythmic gestures that make Rigaudon and Gavotte instantly recognizable, allowing conductors to build musicianship from day one rather than wrestling with technical obstacles.

These dances capture the courtly grace and rhythmic snap of French Baroque without the technical complications. The Rigaudon bounces with aristocratic energy, while the Gavotte glides with measured elegance; together, they offer beginning players their first real taste of ensemble style and historical context.

String orchestra students in grades 2-3 who are solidifying first position and building confidence with Baroque repertoire. Conductors building a foundational literature library will find this pair ideal for teaching style, phrasing, and the lighter articulation that distinguishes French Baroque from Romantic music.

• Shape the articulation clearly in the first measure of each dance. The character of Baroque music depends on crisp, defined note attacks; work for lightness rather than weight in the bowing.
• Emphasize the contour of the melodic line, especially where it moves scalewise. Even in a beginner arrangement, these dances reward singers who think like phrase singers, not note readers.
• Balance the parts so the primary melody emerges naturally. In passages where multiple voices carry thematic material, conductors should rehearse by voice to clarify the intended hierarchy.

Program these dances as an opening set for a fall or spring concert to establish a classical anchor for a mixed program. They work equally well as a bridge into exploring Baroque or as a standalone showcase of how much musical maturity beginners can achieve; their modest length (eight pages) makes them practical for tours and informal performances.

• Sustaining even tone and consistent tempo across eight measures
• Reading and executing Baroque articulation (light, separated notes)
• Playing melodies that move primarily stepwise in first position
• Balancing ensemble parts to support a single melodic voice
• Recognizing and performing two distinct dance forms and their characteristic rhythms