William Henry Squire's Tarantella, Op. 23, is a cello and piano showpiece pitched at approximately ABRSM Grade 7, making it the ideal study-to-performance bridge for intermediate cellists. You can download a public-domain scan from IMSLP) at no cost, or buy a printed edition from Stainer & Bell or Presto Music if you prefer a clean, publisher-verified copy. The single most important preparation focus is mastering shifting, string crossings, and bow control before the triplet patterns become a stamina problem.
Three immediate next steps:
- Download or inspect the score from IMSLP or a UK retailer, and confirm you have the complete cello and piano parts.
- Decide between a study edition (with fingerings and position markings) and a clean performance copy before you begin annotating.
- Start focused technical drills on shifting and string crossings before you attempt the piece at speed.
Key takeaways
Squire's Tarantella rewards structured preparation: source a reliable edition, isolate the technical demands early, and build tempo gradually with a relaxed bow arm.
| Point | Details |
|---|---|
| Score sourcing | Download from IMSLP or buy a printed edition from Stainer & Bell or Presto Music for exam use. |
| Edition choice | Use a practice edition (C. Harvey) while learning; switch to a clean performance copy for recitals. |
| Technical priorities | Address shifting, string crossings, and forearm relaxation before building tempo. |
| Practice strategy | Follow a sequential plan: preparatory exercises, slow section work, coordination drills, then gradual tempo build. |
| Exam standard | ABRSM Grade 7 placement; examiners expect clean shifts, rhythmic precision, and consistent bow control. |
Table of Contents
- What does the Tarantella by Squire look like on the page?
- Where can you get the score in the UK?
- Which edition should you choose?
- How do you build a focused practice plan for the Tarantella?
- Where can you find recordings and piano accompaniment?
- How does the Tarantella fit into UK exam syllabuses?
- How do you make the Tarantella convincing in performance?
- An experienced player's perspective on learning this piece
- Celebrate finishing the Tarantella with a musician's gift
- Sources
What does the Tarantella by Squire look like on the page?
| Feature | Detail |
|---|---|
| Instrumentation | Cello and piano |
| Opus / catalogue | Op. 23 |
| Time signature | 6/8 |
| Character / tempo | Vivace; dance-like and energetic |
| Approximate duration | 3–4 minutes |
| Common key | A minor / A major |
| Earliest publisher | Stainer & Bell |
The piece is written mostly in bass clef, with some brief passages in higher positions. Before purchasing or printing any scan, verify the ISMN or publisher reference to confirm you have a complete, unabridged edition.
Where can you get the score in the UK?
IMSLP is the natural first stop for any cellist on a budget. The public-domain scans are free to download, though quality varies between uploads. Check that both the cello part and the piano accompaniment are present, and look for any editorial markings that may have been added by a previous owner or editor.
For a publisher-verified printed copy, two UK retailers stand out:
- Stainer & Bell stock a printed edition with full publisher reference details, making it the safest choice for exam use where photocopied parts are not permitted.
- Presto Music list the Tarantella for cello and piano with ABRSM-related repertoire notes and ISMN details, which is useful if you need to confirm the edition before ordering.
- C. Harvey Publications offer a dedicated practice edition that includes preparatory exercises, study notes, and marked positions, designed specifically to teach each difficult passage.
One copyright caution: if you plan to use the score in an ABRSM exam, photocopies of in-copyright editions are not permitted. Always purchase a licensed copy or use a confirmed public-domain scan.
Pro Tip: Before printing an IMSLP scan, open both files side by side and check that bar numbers align. Mismatched or incomplete scans are more common than you might expect, and discovering a missing page mid-practice session wastes valuable time.
Which edition should you choose?
The distinction between a study edition and a performance edition is practical, not merely academic. A study edition adds fingerings, position markings, preparatory exercises, and sometimes duet parts. A performance edition presents a clean engraving with minimal editorial intervention, closer to what Squire originally published.
Choose a study edition when you are learning the piece for the first time, preparing for a graded exam, or working through specific technical difficulties. The C. Harvey Publications practice edition is particularly well-regarded because it isolates the tricky spots and provides structured exercises alongside the score. A dedicated practice edition can shorten the learning curve substantially compared with using only a performance copy.
Choose a performance edition for recitals, recordings, or any context where a clean part matters. The Stainer & Bell printed edition fits this role well.
Pro Tip: Buy both if your budget allows. Use the practice edition during the learning phase, then switch to the clean performance copy once the notes are secure. This way you avoid carrying over pencilled-in fingerings that may not suit your final interpretation.
How do you build a focused practice plan for the Tarantella?
The piece's principal technical demands are reliable shifting across first through fifth positions, controlled string crossings, sustained triplet stamina, and clear articulation with efficient bow distribution. Forearm tension is the hidden enemy: once it builds, clarity collapses. Teaching resources confirm that mastering forearm relaxation and efficient string crossings matters more than simply learning the notes.
Follow this sequential plan:
- Preparatory exercises first. Work through C. Harvey's free preparatory exercises for shifting and string crossings before opening the score. These isolate the technical demands in a lower-pressure context.
- Section-based slow practice. Divide the piece into four or five manageable sections. Practise each at 50–60% of performance tempo, focusing on intonation and bow placement.
- Coordination drills. Practise left-hand shifts silently (bow off the string) to build muscle memory, then reintroduce the bow once the shift feels automatic.
- Gradual tempo build. Use a metronome and increase by two to four beats per minute only when a section is clean at the current tempo. Rushing this stage is the most common cause of ingrained errors.
- Run-through strategy. Once sections are secure, practise joining them at the seams. Record yourself to catch tension or articulation issues that are hard to notice in the moment.
Specific exercise types worth isolating: shifting exercises across the positions used in the piece, string-crossing drills on open strings, slow triplet articulation studies with varied bow speeds, and left-hand coordination exercises that separate finger action from bow movement.
Pro Tip: Keep your forearm loose during the continuous triplet passages. If you notice your elbow rising or your wrist locking, stop, shake out the arm, and restart that passage at a slower tempo. Stamina is built through relaxed repetition, not effortful grinding.
Where can you find recordings and piano accompaniment?
Listening to strong performances before you begin learning shapes your sense of tempo, articulation, and rubato in ways that no written description can replicate. Streaming services and YouTube both carry useful recordings; search for "Squire Tarantella cello" and compare at least two or three performances to notice where different players make different choices.
For piano accompaniment, the printed piano part is included in both the Stainer & Bell and Presto Music editions. If you need a backing track for solo practice, some practice editions include a duet arrangement. Naxos Music Library is worth checking if your school or conservatoire has a subscription, as it carries a broad catalogue of British cello repertoire that may include Squire's works.
How does the Tarantella fit into UK exam syllabuses?
The Tarantella is commonly listed around ABRSM Grade 7 and appears in the Suzuki Cello School, Volume 6, which places it firmly in the late-intermediate bracket. Teaching Cello and other repertoire resources describe it as late-intermediate to intermediate-difficult, suitable for recitals and graded exams alike.
Teachers typically assign it in one of three ways: as graded exam repertoire at Grade 7, as a recital piece for students approaching diploma level, or as a technical study that consolidates shifting and bow control before tackling more demanding solo works. Its inclusion in a widely used Suzuki scheme means many students encounter it in group or studio settings.
What examiners expect from a Grade 7 performance:
- Clean, accurate shifting with no audible slides between positions.
- Rhythmic precision in the triplet figures, with no rushing in the faster passages.
- Secure bow control that maintains consistent tone across string crossings.
- Clear dynamic contrast that reflects the dance character of the piece.
How do you make the Tarantella convincing in performance?
The Tarantella's character is rooted in the Southern Italian dance tradition: energetic, rhythmically driven, and slightly breathless. Cello Discovery describes it as an exciting piece that combines shifting, long slurs, and double-stops in a musical way, and that combination is precisely what makes it rewarding to perform.
Three common pitfalls and how to address them:
- Rushing. The 6/8 pulse can accelerate under pressure. Anchor yourself to the piano part and practise with a metronome set slightly below performance tempo during the final preparation week.
- Tension. Gripping the bow tighter when passages feel insecure is a natural reflex, but it muddies articulation. Consciously lighten the bow hold at the start of each practice session.
- Muddy string crossings. Slow the passage down and practise the crossing motion alone, without left-hand fingers, until the arm movement is fluid.
Pro Tip: On exam or recital day, warm up with a slow, deliberate run-through of the two or three passages you find most challenging. This is not a full rehearsal; it is a targeted check that those passages are under your fingers before the adrenaline of performance changes your sense of tempo.
An experienced player's perspective on learning this piece
The Tarantella by Squire occupies a specific and valuable place in the cello repertoire. It is not the hardest piece a Grade 7 student will encounter, but it is one of the most honest: every technical weakness shows up in the triplet runs and the string crossings, and there is nowhere to hide. That transparency is exactly what makes it such a useful teaching tool.
The most common learning curve I observe is students who learn the notes quickly but then plateau because they have not addressed forearm tension. The fix is almost always the same: slow the practice tempo back to where the arm stays relaxed, rebuild from there, and resist the urge to push for speed before the physical ease is in place. Students who follow a structured plan with dedicated preparatory exercises consistently reach a performance-ready standard faster than those who work through the piece top to bottom without isolating the technical demands first.
Celebrate finishing the Tarantella with a musician's gift
Reaching performance-ready standard on a piece like this deserves recognition. Mugnificentdeals creates personalised music mugs that speak directly to musicians: custom cello illustrations, music quotes, and names printed on ceramic mugs that feel personal rather than generic. Whether you are rewarding a student who has just nailed their Grade 7 run-through or thanking the teacher who guided the process, a personalised mug from Mugnificentdeals turns a small milestone into something tangible.
Sources
Primary resources for scores, editions, and study materials:
- The Squire Tarantella for Cello Practice Edition
- Tarantella for Cello by W. H. Squire. Why YOU Should Learn this Piece! | Cello Discovery
Always verify the ISMN or publisher reference before purchasing or printing, particularly if the score will be used in an ABRSM examination context.