recommended by Maureen Driscoll and Megan W., Orchestra Specialists

Percentage of Error (The Prince of Denmark’s March) by Jeremiah Clarke/arr. Bob Phillips, Grade 1.5
This arrangement of “The Prince of Denmark March” or “Trumpet Voluntary” provides the perfect setting for advocacy and striving for excellence since it is so recognizable. Three different versions of the final 8 bars, containing incorrect notes, are included. Each version contains an increasing percentage of correct pitches. Each represents a different letter Grade. Play all four versions and then explain to parents and administration that the A+, 100% correct version is what we do every day in Orchestra. All sections play the melody in this piece, still providing a solid musical setting in a novelty piece. Audience members are sure to recognize it which makes it perfect for finding “errors.” Along with the “real” music for the final 8 bars, three other versions are included. The first version has 80% of the correct notes and 20% incorrect. The next has 90% correct notes and 10% incorrect. The next has 95% correct notes and 5% incorrect. The final, “real” version has 100% correct notes. The 100% version should be played first for the audience explaining this version would get an A+ in an academic setting. Then play the 80% or B- version, then the 90% or A- Version, and then the 95% A version. Then explain to parents and administration that the only version that is acceptable is the 100% version and that is what we do every day in orchestra. This provides a perfect advocacy moment to discuss the benefits of music education with parents and a tangible explanation of striving for excellence to parents and students. Includes an educational packet with each part that features technical exercises, history, theory, composition, and more.

Shadow of Fate (Reimagined from Beethoven’s 5th Symphony) arr. Jeffrey E. Turner, Grade 2.5
Beethoven’s 5th Symphony has become one of the best-known compositions of the Classical period. Here, the familiar stormy theme is reimagined in a softer, more delicate interpretation, creating a sense of loneliness, loss, and heartbreak. This expressive, rubato arrangement builds to a dramatic climax, weaving the beauty of the composer’s genius into a gentle lament.

Symphony #1 (First Movement) by Joseph Bologne/arr. Todd Parrish, Grade 3
One of only two symphonies he composed during his time in France, Bologne’s Symphony No. 1 reflects the influence of his teachers and fellow composers in the burgeoning Classical period. This joyful Allegro features a spirited theme that is developed mainly in the violin section, supported by the lower strings. Originally scored for two oboes, two horns, and strings, this approachable arrangement for String Orchestra retains the original key while seamlessly blending the wind and string parts.

Promenade and Great Gate (from Pictures at an Exhibition) by Modest Mussorgsky/arr. David Bobrowitz/ed. J. Cameron Law, Grade 3
Two parts of the ten-section piano masterwork “Pictures at an Exhibition” are presented here in a very playable string orchestra arrangement, including an abridged version of “The Great Gate of Kiev” that captures all the power of the full original. This version will thrill your audiences time and time again!

Danse Nègre (from African Suite, Op. 35, No. 4) by Samuel Coleridge-Taylor/arr. Deborah Baker Monday, Grade 5
Samuel Coleridge-Taylor was extraordinary in using themes from African American folk music, and his success contributed to the empowerment of African American musicians and composers who came after him. The final movement from a larger work, this high energy piece is one spectacular example of Coleridge-Taylor’s talent. A perfect concert closer!

The Eye of Jupiter by Jeremy Woolstenhulme, Grade 1
The study of our galaxy and beyond is something we are all fascinated by, especially as students. This dynamic work capitalizes on that subject matter by featuring a captivating opening and atmospheric feel along with exaggerated dynamics that portray the wild and unpredictable nature of Jupiter’s Eye! A learning bank about Jupiter is included in the score and all parts. B minor.

Les Matadors by Ignatius Sancho/arr. Dión Morales, Grade 1
“Les Matadors” represents an English country dance from Ignatius Sancho’s “Minuets Cotillons & Country Dances for the Violin, Mandolin, German Flute, & Harpsichord,” published in 1775. Sancho’s original “Les Matadors” piece is accompanied only by a second instrument in quarter and half notes. Dión Morales arranged “Les Matadors” in celebration of a composer of color through two-part writing in D major for string orchestra, exploring varied dynamics and conversations between groups of two instruments. Accents and melodic skips hold the students’ attention as they learn 2/4 time. Students’ imaginations will create a matador, in his colorful and grand traje de luces or “suit of lights,” posturing with the bull in the arena. Your students will love performing Dión Morales’s arrangement of “Les Matadors,” a level 1 English country dance for string orchestra.

Ballet #6 from L’Amant Anonyme by Joseph Bologne, Chevalier de Saint-Georges/arr. Jennifer Meckler, Grade 3
In this orchestral excerpt from Joseph Bologne’s only surviving opera “L’Amant Anonyme (The Anonymous Lover),” students will learn how to play in the Classical-era style, 6/8 meter at a prestissimo tempo, ternary form, and more. The cello part includes a number of viola cues that can be helpful if there is a smaller viola section in the ensemble. First violin, second violin, and viola parts are entirely in first position but require extended fingerings.

Sinfonia in G Major RV 158 by Antonio Vivaldi/arr. Thomas LaJoie, Grade 3
A delight to hear, this piece is transposed from the original key of A major. There is a great deal of interaction among the sections. It’s easier to play triplet sixteenth-note scales if you slur them, but separate bowing is more effective and dramatic. Sudden mood shifts, like shifting to minor and sudden piano, add to the drama. The viola and bass lines have a melodic shape and follow the music’s phrasing and line for added interest.

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About the Authors:
Maureen Driscoll is the Orchestra Music Specialist at Stanton’s Sheet Music. Originally from the Cleveland area, she attended Miami University in Oxford to study Music Education. After graduating in 2017, Maureen spent five years teaching middle and high school orchestra in Cincinnati-area public schools. A lifelong violinist, she likes to perform with community orchestras and play gigs to keep herself busy. When she’s not working or performing, Maureen enjoys exploring nature, playing video games, baking, and spending time with her boyfriend and two cats.

Megan W., originally from Pittsburgh PA, is happy to call Columbus and Stanton’s Sheet Music “Home.” As a musician, Megan has played in marching and concert bands, youth orchestras, full orchestras, small ensembles, and a few choirs. Her interests include fiddling, reading, writing, martial arts and yoga.