Amy Beach Arranged by Steve Olson • Grade 4
Originally composed for piano by American composer Amy Beach,
Bal Masqué captures the elegance and lively excitement of a masked ball and makes a vibrant addition to any collection of works by female composers. All parts except second violin require shifting—ranging from sixth position in first violin to modest third‑ and fourth‑position work in viola, cello, and bass. The piece frames a more challenging E‑flat major middle section with bright outer sections in G major, and melodic material is shared across all parts except the bass, which provides a classic waltz foundation.
Samuel Coleridge-Taylor Arranged by Steve Olson • Grade 4
“La Caprice de Nannette”, originally written for orchestra by British composer Samuel Coleridge‑Taylor, shines brilliantly in this sparkling string arrangement. Its explosive opening and ending make it an ideal concert starter, and it offers another vibrant addition to your repertoire of works by Black composers. Shifting is required for first violin, cello, and bass, with easy double‑stops in all but the bass. Late‑Romantic harmonies, extended melodic lines for second violin and viola, and playful hemiolas give students plenty of musical color and fun challenges to explore.
Pyotr Ilyich Tchaikovsky Arranged by Jennifer Meckler • Grade 2
Military March offers younger string students an exciting opportunity to explore march style—an experience more commonly found in band repertoire than orchestral music. The piece reinforces essential techniques such as hooked bowing and double-down circle bows, while highlighting clear contrasts between marcato and legato playing. All sections share melodic material and engaging lines, keeping low strings fully involved and musically motivated. With minimal shifting required in the cello and bass parts and none in the violin or viola, this march builds confidence, ensemble skills, and stylistic awareness.
Modest Mussorgsky orch. Maurice Ravel Arranged by Sandra Dackow • Grade 4
This full‑length arrangement of “Baba Yaga” and “The Great Gate of Kiev” faithfully captures Mussorgsky’s dramatic contrasts and Ravel’s bold orchestral colors while being fully playable by an intermediate string orchestra. To preserve the richness of the original scoring, violin and cello divisi are used throughout, along with carefully chosen enharmonic rewrites and simplified finger patterns to support developing musicians. “Baba Yaga” features aggressive, off‑the‑string bowing at the frog and spooky pizzicato effects. “The Great Gate of Kiev” includes bell‑like sonorities and spacious, resonant textures, along with chant‑like lines for single players without vibrato. Optional percussion and harp parts add color and atmosphere.
Cécile Chaminade Arranged by Steve Olson • Grade 3
Originally part of a symphonic ballet by French composer Cécile Chaminade, “Scarf Dance”—long a favorite as a piano solo—shimmers anew in this graceful string arrangement. Minimal shifting keeps the piece accessible, while melodic material is shared among all instruments, even the bass. Simple double‑stops (second violin and viola), light natural harmonics, and quick pizzicato‑to‑arco transitions add a playful challenge. Elegant, flowing, and rehearsal‑friendly, this arrangement is as delightful to play as it is to hear.
R. Scott Whittington • Grade 2
Designed with young musicians in mind,
Sideways Glance uses a clever back‑and‑forth musical conversation that perfectly matches its title. The accessible scoring—first position throughout and open strings for stability—helps players build confidence and ensemble skills. Every section gets a turn with pizzicato, adding variety and keeping students engaged from start to finish.
Wolfgang Amadeus Mozart Arranged by Sandra Dackow • Grade 3
Composed when Mozart was just sixteen, the finale of Symphony No. 20 bursts to life with youthful brilliance, cheerful energy, and effortless charm. This fleet‑footed Allegro, filled with rapid eighth‑note passagework, practically begs for crisp, off‑the‑string articulation at the frog. Nearly the entire movement can be played in first position, with only brief shifts in first violin and bass, making it accessible while still offering professional sparkle. Carefully coordinated bowings highlight Mozart’s light, dancing character, and performers will relish the exhilarating momentum that drives this delightful closer from beginning to end.
Kevin Sluder • Grade 3
To the Thawing Wind captures the vivid imagery of classic poetry through sweeping lines and expressive musical gestures. Articulation, tempo, and dynamic nuance give performers rich opportunities to shape every phrase with intention. With engaging melodies and supportive roles throughout the ensemble, this piece brings the poetry’s spirit to life in sound.
David Bobrowitz • Grade 3
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Visit to Bucharest offers student orchestras a chance to explore the captivating sound world of Romanian folk music. With melodic material shared across the ensemble, every player becomes part of the storytelling. Its A minor setting adds a touch of realism and depth, making the piece as rewarding to perform as it is to hear.
Jennifer Meckler • Grade 1
Wolf Pack Hunt is the perfect piece for teaching dotted‑quarter rhythms, giving every section equal opportunities to practice subdividing with and without slurs. Written in E minor, it lets students apply familiar G‑scale knowledge to a fresh tonal palette. With accents, staccato, full dynamic contrast, and clear reminders for C‑natural fingerings, the piece keeps players alert and engaged. Bassists get a taste of shifting into 2nd position, while all other parts stay comfortably in first.
