Kjos String Orchestra

Grade 2½
Full Conductor Score
SO375F

Nikolai Rimsky-Korsakov
$7.00

Deborah Baker Monday, Arranger

Alborada

Neil A. Kjos Music Company • Publisher

2
About the Arranger
Deborah Baker Monday continues to teach in the award-winning Logan City,
Utah orchestra program. She received her B.M.E., magna cum laude, from Florida
State University with an emphasis in string education. She was awarded an
academic fellowship to attend the University of Alabama where she received
her M.M. in Composition. She continued her studies at Louisiana State University,
where she received the Chancellor’s Award to participate with the LSU sym-
phony orchestra under the direction of James Yestadt. She has studied theory and
composition with Harold Schiffman, John Boda, Frederic Goossen, Paul Hedwall
and Dinos Constantinides.

Ms. Monday continued to be an active bass performer when she moved to Utah.
After completing the coursework and passing the written and oral portions of
the doctoral exams, she was hired to teach in the Logan City School District as a
low string specialist. During her tenure with Logan, she has pursued her interest
in composition and arranging for educational strings. This has been a rewarding part of her career while she and
her husband, Bill, have raised four amazing children.

Ms. Monday has presented at numerous state music conferences throughout America, as well as several national
ASTA conventions and the Midwest Clinic. She is very active as a guest conductor and adjudicator and has re-
ceived awards and commissions for her work. Her studies in composition and experience in string teaching com-
bine to make her one of the leading contributors to the repertoire for young string players.  

Instrumentation List (Set C)

8 – 1st Violin
8 – 2nd Violin
5 – 3rd Violin (Viola T.C.)
5 – Viola
5 – Cello
5 – String Bass
2 – Tambourine/Triangle
1 – Full Conductor Score

Additional scores and parts are available.

To hear a recording of this piece or any other Kjos publication, please visit www.kjos.com.

SO375F
 3
About Nikolai Rimsky-Korsakov
Nikolai Rimsky-Korsakov (1844–1908) was a Russian nationalist composer. Although he wrote in many genres,
including opera, it is his glittering orchestral works that are most often performed today in the United States,
including Scheherazade (1888), Russian Easter Overture(1888), and Capriccio Espagnol (1887), which is the work
from which “Alborada” comes.

It is astonishing to think about how much Russian music developed during Rimsky-Korsakov’s lifetime. When he
was born, only one Russian composer—Mikhail Glinka—had acclaim through out his homeland. When Rimsky-
Korsakov died in 1908, Russian composers such as himself, Pyotr Illych Tchaikovsky (1840–1893), and Modest
Mussorgsky (1839–1881), were internationally known and revered. And just before his death, Rimsky-Korsakov
taught a young Igor Stravinsky (1882–1971), who would shortly rise to international fame and become one of
the most influential composers of the twentieth century. An astonishing lifetime indeed! If that was not enough,
Rimsky-Korsakov also advanced the study of orchestration, which is the art of choosing which notes to put in
which instruments throughout the orchestra.

Rimsky-Korsakov had great musical talent as a young man, having started piano lessons at age six. Although
music was a passion, he pursued an education at the School for Mathematical and Navigational Sciences in St.
Petersburg. He also joined the Imperial Russian Navy. Rimsky-Korsakov loved ships and the sea and wanted to
make the navy his career.

Rimsky-Korsakov also had something else: friends who encouraged and challenged him as a musician and compos-
er. These friends were also Russian, and also aspiring composers. There were five core composers in this group:
Alexander Borodin (1833–1887), Mily Balakirev (1837–1910), César Cui (1835–1918), Mussorgsky, and Rimsky-
Korsakov. This group came to be know as “The Kuchka” (the “little heap” or “little bunch” of composers), and its
composers created operas and orchestral works that defined the sound of Russian music in the ears of the world.

“Alborada” comes from the first movement of Rimsky-Korsakov’s Capriccio Espagnol (Capriccio on Spanish
Themes). The melody forms a refrain throughout this fifteen-minute long piece, recurring in movement three and
again at the end of the piece. The “alborada” in the title refers to a lively dance from western Spain. In its popular
conception, it is a dance of country people. Imagine a group of shepherds in the field, playing bagpipes and rollick-
ing joyfully, and you can get a sense of the mood that Rimsky-Korsakov was evoking through this dance. It is a fit-
ting melody for the beginning of such a brilliant work, and can inject great energy into any concert.

SO375F
 44

Alborada
from Capriccio Espagnol, Op. 34
Full Conductor Score Nikolai Rimsky-Korsakov
Approx. performance time—1:35 Arranged by Deborah Baker Monday
Allegro (q = 92)
>≥œ . œ œ œ œ œ 2 >œ . œ œ œ œ œ 3 >œ . >
### 2 œ œ œ. œ œ œ. . 4 >œ œ œ. œ. 5 >œ œ . œ. . œ.
1 & 4 œ . œ œ œ. œ. œ œ œ
ƒ
# # # 2 >≥œ .
œ œ œ œ œ œ . œ œ œ œ œ œJ ‰ œj ‰ œœ ‰ œ œ œœ ‰ œ œ
Violins

& 4 œ J J
>
2
ƒ
# >≥œ . œ œ œ œ œ >œ . œ œ œ œ œ œ œ
Viola B # # 42 J ‰ œJ ‰ J ‰ œ œ œJ ‰ œ œ
ƒ
≥ j j
? # # # 42 œ œ œ œ œ œ œ ‰ œ ‰ j‰ œ œ j‰ œ œ
œ œ. œ. œ œ. œ. œ œ œ œ
> >
Cello

ƒ
? ### 2 ≥ œ. œ. œ. œ. j œ j œ œ j‰ œ œ
4 œ œ œ ‰ J ‰ œ ‰ œ
> >
String Bass

ƒ
Tamb. >
ã 42 œ œ
@
œ œ
@ @
˙ œ œ.
J @
œ œ.
J @
Optional Tambourine
Triangle
ƒ

. œ. >œ œ œ. œ. >œ œ œ. œ. >œ œ œ. œ.

# # # >œ œ œ œ ≥œ. œ. œ. œ. œ. œ.
[6]
œ œ œ
&
7 8 9 10
1

# # # >œ œ . œ. . œ. >œ œ . œ. . œ. >œ œ . œ. . œ. >œ œ . œ. . œ. ≥œ. . œ. œ. . œ.

Vlns.

2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

# œ
Vla. B ## J ‰ œ œ œ ‰
J
œ œ œ ‰
J
œ œ œ ‰
J
œ œ œ ‰ œ ‰
J J

? # # # œj ‰ œ œ j œ œ j œ œ j œ œ j ‰ Jœ ‰
Cello œ œ ‰ œ ‰ œ ‰ œ

? ### j ‰ œ œ j œ œ j œ œ j œ œ j œ
Str. Bass œ œ ‰ œ ‰ œ ‰ œ ‰ J ‰

Tamb./Tri. 㠜
@
œ œ œ
@
œ œ œ
@
œ œ œ
@
œ œ œ œœœ œœ

© 2015 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California, 92117. International copyright secured. All rights reserved. Printed in the U. S. A.
Warning! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law.
Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.
SO375F
SO375
 5
5

>≥
[14]
11
# # # œ. œ. œ. œ. œ. œ. 12 œ. œ. œ. œ. œ. œ. 13 œ. œ. œ. œ. œ. œ. œ . œ œ œ œ œ 15 >œ . œœœœœ
1 &
f
Vlns.
# # # œ. œ. œ. œ. œ. œ. œ. . œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ œ
œ œ
J ‰
pizz.
2 & œ œ œ œ
p
# œ œ
B # # œJ ‰ Œ œ ‰ œ ‰ œ ‰ Œ J ‰ œ œ J ‰ œ œ
pizz.
Vla. J J J
p
? ### j ‰ Œ j œ j j
div. pizz.

Cello œ œ ‰ J ‰ œ ‰ Œ œœ ‰ œœ œœ œœ œœ œœ
p
? ### j ‰ Œ j œ j j œ œ œ œ
œ ‰ J ‰ œ ‰ Œ œ ‰
pizz.

Str. Bass œ œ
p

ã œ œœœ œ œœœ œœ œ œœœ œ Œ ∑

Tamb./Tri.
@

# # # œ œ œ. œ. >œ œ œ. . 17 >œ œ . œ. . œ. 18 >œ œ . œ. . œ. >œ œ œ œ. œ. >œ œ œ. œ.

> [19]
œ œ œ œ œ œ œ œ
16

&
20
1

Vlns.
### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≥. œ. . œ. œ. œ. >œ œ . œ. œ. œ.
pizz. (alt. R with L hand) arco

2 & œ œ œ œ œ œ
f
#
B ## œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
H3
œœ œœ
div.
Vla.

? ### œ œ œ œ œ œ œ œ œ
unis.
Cello œ œ œ œ œ œ œ œ

? ### œ œ œ œ œ œ œ œ œ
Str. Bass œ œ œ œ œ

Tamb./Tri. ã ∑ ∑ ∑ ∑ ∑

SO375F
SO375
 6
6

# # # >œ œ œ œ. œ. >œ œ œ.
œ
œ. >œ œ >œ œ 24 >œ œ . œ. . œ. 25 >œ œ >œ œ
œ œ œ œ œ œ œ
21

&
22 23
1

Vlns.
# # # >œ œ . œ. . œ. >œ œ . œ. . œ. j j
2 & œ œ œ œ œ œ œ ‰ œ ‰ œ œ œ. œ. œ. œ. œJ ‰ Jœ ‰
arco

# >≥œ œ œ. œ. >œ œ œ. œ. >œ œ. œ.

unis.

B # # œœ œœ œœ œœ œœ œœ œ
H3

Vla. œ œ œ
F
? ### œ œ œ œ œ œ œ œ
Cello œ œ œ œ œ

? ### œ œ œ œ œ œ œ œ
Str. Bass œ œ œ œ œ

Tamb./Tri. ã ∑ ∑ ∑ ∑ ∑

# # # >œ œ . œ. . œ. ≥œ . œ œ œ œ œ 28 œ œ œ. œ. œ œ œ. œ. 29 œ . œ œ œ œ œ 30 œ œ œ. œ. œ œ œ. œ.
[27]

œ œ œ
26

&
ƒ
1

≥ œœœœœ œ œ œ. œ. œ œ œ. œ. œ . œ œ œ œ œ œ œ œ. œ. œ œ œ. œ.
Vlns.
### . . . .
2 & œ œ œ œ œ œ œ.
ƒ
Ÿ ≤. . ≤
œœ. œœ. Ÿœ
div.

# > .
œ .
œ œ œ œ >œ œœ. œœ. >œœ œœ. œœ. >œ œœ. œœ. n >œœ œœ. œœ.
unis.
#
B # œ œ
div.
œ œ œ œ
Vla. œ
ƒ
≤. . >œ2 œ. œ. >œ œ. œ. œ ≤
div.

? ### œ œ œ ≥ œ œ œ œ. œ. œ œ
arco

Cello œ œ œ œ œ œ œ œ œ œ œ
ƒ
≤ ≤
? ### œ œ ≥ œ. œ. œ œ. œ. œ
arco

Str. Bass œ œ œ œ œ
ƒ

ã ∑ œ œ ˙ œ œ ˙
Tamb./Tri.
@ @ @ @
ƒ
SO375F
SO375
 7
7

œ œ œ œ œ . .
œ œ œ . . ≥
Ÿ̇ Ÿ̇ Ÿ̇
31
#
## œ . œ œ œ œ œ
&
32 33 34 35
1

# # # œ . œ œ œ œ œ œ œ œ. œ. œ œ œ. œ.
Vlns.
≥œ œ œ œ œ œ œœœ œ œ œœœ œ
2 &
sempre staccato

Ÿ ≤ œœ. œœ. n œ œ. œ. # ≥œ œ œ œ œ œ œœœ œ œ œœœ œ

div.

### œ œœ. œœ. œœ

unis. unis.

Vla. B
≥
sempre staccato
≤
œ œ. œ. œ #œ œ 1œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœœ
-1

œ œ œ
4

? ###
2 3

Cello œ œ œ œ œ œ œ œ
≤
? ### œ. œ. œ ≥ œ œ œ œ œ œ
Str. Bass œ œ œ œ œ

ã œ œ ˙ œ œ. œ œ. œ œ.
Tamb./Tri.
@ @ J @ J @ J @

36
# # # Ÿ̇ ≥œ œ œ œ œ œ 38 œ œ œ œ œ œ 39 œ œ œ œ œ œ 40 œ œ œ œ œ œ
&
37
1
sempre staccato
Vlns.
### œ œ œ œ œ ≥
œ œœœ œœ œ œœœœœœ œ œœœ œœ œ œœœœœœ
2 &

œ œ œ œ œ ≥œ œ œ
Vla. B ##
#
œœ œ œœœ œ œ œœœ œ œ œœœ œ

œ œ œ œœ œ œœ œ ≥œ j j , ≥j j j
? ### ‰ œ œœ ‰ Œ œœ ‰ œœ ‰ œœ ‰ Œ
Cello œ œJ œ ‰

œ œ ≥j œ ‰ , ≥j œ ‰
? ### ‰ j ‰ Œ ‰ j
Str. Bass œ œ J œ œ J œ ‰ Œ

ã œ œ. œ œœœ œœ œ œœœ œœ œ œœœ œœ œ œœœ

Tamb./Tri.
J @ @

SO375F
SO375
 8
8

# # # ≥œ . œ œ œ œ œ 42 œ œ œ. œ. œ œ œ. œ. 43 œ . œ œ œ œ œ 44 œ œ œ. œ. œ œ œ. œ. 45 œ . œ œ œ œ œ
[41]

1 &
F
Vlns.
### œ
J ‰ œ œ
pizz.
& œ œ œ œ œ œ œ œ œ œ
P
2

# # œ œ nL2œ #œ œ œ
B # J ‰ œ œ
œ œ œ œ œ
pizz.
Vla.
P
# j
? ## œ ‰ œ œ
pizz.
œ œ j nœ #œ œ œ
Cello œ œ œ œ œ œœ ‰ œœ œœ œœ œ œ œ œ
P
? ### j ‰ œ œ œ œ œ œ œ œ
pizz.

œ œ œ œ œ
P
Str. Bass

Œ ∑ ∑ ∑ ∑
(to Triangle)
Tamb./Tri. 㠜

[47]
# # # œ œ œ. œ. œ œ œ. œ. œ œ œ œ œ œ œ 48 œ œ œ œ œ œ œ 49 œ œ œ œ œ œ œ 50 œ œ œ œ œ œ œ
46 pizz. (alt. R with L hand)

1 &
Vlns.
### ≥œ œ œ œ œ œœœ œ œ œœœ œ œ œœœ œ
arco

2 & œ œ œ
F
# ≥œ œ œ œ
B ## œ œ œ œœœœœœ œ œœœœœœ œ œœœœœœ
arco

Vla. œ œ œ
F
n œ2 ≥œ œ œ œ œ œ œ œ œ œ œ œ
? ### œ
arco

Cello œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? ### œ ≥
arco
œ œ œ œ œ œ œ œ
Str. Bass œ œ œ œ œ

Tamb./Tri. ã ∑ ∑ ∑ ∑ ∑

SO375F
SO375
 9
9

arco ≥
[51]
# # # Ÿœ Ÿœ Ÿ̇ Ÿœ Ÿœ Ÿ̇ œ ≥ œ œ œ.
& œ
52 53 54 55
1

Vlns.
### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
2 & œ œ œ œ œ

#
B ## œ œ œ
œ œ œ œœœ œ œ œœœ œ œ œœœ œ ˙
Vla.

œ œ œ œ œ œ œ œœ œ œœ œ
? ### œ œ œ œ œ œ
Cello œ œ œ œ œ œ œ œ œ œ œ

? ### œ œ œ œ œ œ œ
Œ
Str. Bass œ œ œ œ œ

˙
Triangle

Tamb./Tri. ã ∑ ∑ ∑ ∑ @
π

### œ , ≥ œ œ œ. Ÿ̇ Ÿ̇ ,≥ œ œ. ,≥ œ œ.
œ œ œ œ œ œ œ
56

&
57 58 59 60
1

Vlns. ,≥
### .
2 & ˙ ˙ œ œœœ œ ˙ ˙

Vla.
#
B ## ˙ œ ≥œ œ œ œ. ˙ ˙ ˙

œ œ œ œœ œ œœ œ ˙ œ œ œ œœ œ œœ œ œ œ œ œœ œ œœ œ
div.
˙
? ###
unis.

Cello œ œ œ

Str. Bass
? ### ∑ ∑ ∑ ∑ ∑

˙ ˙ ˙ ˙ ˙
Tamb./Tri. ã @ @ @ @ @

SO375F
SO375
 10
10

# # # Ÿ̇ Ÿ̇ . ≥ n œ œ œ. ≥ œ œ œ. ≥ n œ œ œ.
œ ≥œœ œ
[63]
œ ‰ œ ‰ œ ‰ œ
61

&
62 64 65 66
1

Vlns. ,≥
### .
2 & ˙ œ œœœ œ ˙ ˙ ˙ ˙

# # œ ≥ œ œ œ. ˙ n˙ ˙ n˙
Vla. B # œ ∑

# ˙
unis.
˙ ˙ ˙ ˙ ˙
Cello
? ##

Str. Bass
? ### ∑ ∑ ∑ ∑ ∑ ∑

˙ ˙ ˙ ˙ ˙ ˙
Tamb./Tri. ã @ @ @ @ @ @
P

### ≥ ≤
[67]
j j
œ ‰ œ ‰ j‰ Œ
pizz.
&
68 69 70 71 72
1
˙ ˙ ˙ ˙ œ
p
Vlns.
### ≥ ≤
j‰ j‰ j‰ Œ
pizz.
&
˙ ˙ ˙ ˙ œ œ œ
2

p
# # ≥ j
B # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj ‰ j
œ ‰ Œ
pizz.
Vla.
p
≥ ≤ j pizz.
j
? ### ˙ ˙ ˙ ˙ œ œ œj ‰ Œ
div.

Cello œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ ‰ œJ ‰ œJ
p
? ### ≥ ≤ j‰ j‰ j
œ ‰ Œ
pizz.

Str. Bass ˙ ˙ ˙ ˙ œ œ
F p
œ Œ ∑ ∑ ∑ ∑ ∑
Tamb./Tri. ã

SO375F
SO375
About Nikolai Rimsky-Korsakov
Nikolai Rimsky-Korsakov(1844–1908) was a Russian nationalist composer. Although he wrote in many genres, including
opera, it is his glittering orchestral works that are most often performed today in the United States, including
Scheherazade (1888), Russian Easter Overture(1888), and Capriccio Espagnol (1887), which is the work from which
“Alborada” comes.

It is astonishing to think about how much Russian music developed during Rimsky-Korsakov’s lifetime. When he
was born, only one Russian composer—Mikhail Glinka—had acclaim through out his homeland. When Rimsky-
Korsakov died in 1908, Russian composers such as himself, Pyotr Illych Tchaikovsky (1840–1893), and Modest
Mussorgsky (1839–1881), were internationally known and revered. And just before his death, Rimsky-Korsakov
taught a young Igor Stravinsky (1882–1971), who would shortly rise to international fame and become one of
the most influential composers of the twentieth century. An astonishing lifetime indeed! If that was not enough,
Rimsky-Korsakov also advanced the study of orchestration, which is the art of choosing which notes to put in
which instruments throughout the orchestra.

Rimsky-Korsakov had great musical talent as a young man, having started piano lessons at age six. Although
music was a passion, he pursued an education at the School for Mathematical and Navigational Sciences in St.
Petersburg. He also joined the Imperial Russian Navy. Rimsky-Korsakov loved ships and the sea and wanted to
make the navy his career.

Rimsky-Korsakov also had something else: friends who encouraged and challenged him as a musician and compos-
er. These friends were also Russian, and also aspiring composers. There were five core composers in this group:
Alexander Borodin (1833–1887), Mily Balakirev (1837–1910), César Cui (1835–1918), Mussorgsky, and Rimsky-
Korsakov. This group came to be know as “The Kuchka” (the “little heap” or “little bunch” of composers), and its
composers created operas and orchestral works that defined the sound of Russian music in the ears of the world.

“Alborada” comes from the first movement of Rimsky-Korsakov’s Capriccio Espagnol(Capriccio on Spanish Themes).
The melody forms a refrain throughout this fifteen-minute long piece, recurring in movement three and again at
the end of the piece. The “alborada” in the title refers to a lively dance from western Spain. In its popular con-
ception, it is a dance of country people. Imagine a group of shepherds in the field, playing bagpipes and rollicking
joyfully, and you can get a sense of the mood that Rimsky-Korsakov was evoking through this dance. It is a fitting
melody for the beginning of such a brilliant work, and can inject great energy into any concert.
 Kjos Music’s Guide to © Copyright
Composers rely on the income that their compositions generate, and it is the
job of the copyright holder to protect the work from infringement. Copyright
laws can be pretty tricky to navigate, so here are a few helpful tips to guide
you through the process.

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before work can begin, and there are a few works whose composers have
indicated that they do not want their compositions to be altered. Please
contact us to make sure the piece you’re interested in is available for licensing.
If you’re planning to play the original piece without any alterations or
additions, then a license isn’t needed. However, for example, if you’re rewriting
the brass parts for marching instruments (mellophones, bugles), or adding
marching percussion, or making cuts, adding repeats, or creating a medley with
another composition, a license is required.

What If I Want To … ?
If you’d like to use a composition in any other way, please contact us and we
would be glad to advise you.
Contest and festival season is a busy time for our Copyright Office. Please
contact us at least three weeks before your concert date so that we may
help you in time. Please visit www.kjos.com and click on the Licensing tab to
find out more information or to submit a license request.
We’re so pleased that you’ve chosen to perform one of our pieces! We
appreciate your support and we want to make the licensing process as easy
as possible for you.

NN1408K Neil A. Kjos Music Company, Publisher • San Diego, CA • www.kjos.com

Credit: The jacket and score photograph was taken at SO375F - Alborada

Robertson & Sons Violin Shop, Inc., Albuquerque, NM. For more
information about their services, visit: www.robertsonviolins.com. 0 84027 04691 3