Gobi Desert warriors, led by Genghis Khan, ride to China. The music's eighth notes, dissonant chords, and pounding melody vividly portray their might in battle. A calm pentatonic section shows them resting at night before moving mercilessly to the next fight.
The warriors of the Gobi Desert were a force to be reckoned with, striking fear into the hearts of their enemies. Under the leadership of Genghis Khan, they rode across the vast plains of Mongolia into China, leaving behind a trail of destruction and chaos. This piece of music captures the essence of their journey, with its driving eighth notes, dissonant chords, and pounding melody painting a vivid picture of the might of these fearsome soldiers as they engage in battle.
The middle section of the piece offers a glimpse into the calmer side of these warriors. As they rest at night, the pentatonic mode conveys a sense of peace and tranquillity, a welcome respite from the chaos of war. But the calm is short-lived as the music builds up once again, and the warriors prepare to strike with renewed ferocity.
The work reaches its conclusion with a crescendo of sound as the warriors move mercilessly towards their next battle, fueled by their unbreakable spirit and unwavering determination. The music captures the essence of their bravery, their strength, and their unyielding spirit, making it a powerful tribute to these legendary warriors.
The Midnight Serenade starts with faint calls of the night. The haunting melody is shared throughout the piece over a waltz-like accompaniment. Dark Train is a dynamic composition based on a simple three-note ostinato, with whistle effects that excite younger players.
1. Midnight Serenade
2. Dark Train
For String Orchestra Grade 1
La Tempesta di Mare is the overture to Salieri's opera, Cesare in Farmacusa. It narrates the journey of the young Julius Caesar as he sails through a treacherous storm to Farmacusa, near Sicily. The plot is filled with pirates, gypsy lovers, and, of course, Roman gods, providing much entertainment for audiences of that time.
This music piece tells the legend of how the Kookaburra got its laugh. It was created for the Cooloola Shire Symphony Orchestra in Queensland, Australia, in collaboration with elders from the Nations in the area. The composition features a full orchestra, narrator, and didgeridoo. It's an engaging introduction to the orchestra for young listeners, with the didgeridoo blending well with the orchestra.
For Full Orchestra, Narrator and Didgeridoo Grade 4
Heavenly Lake in Tianshan Mountain, Xinjiang, China, has a myth about a goddess who overcame a demon. The playable piece features pentatonic melodies, lush harmonies, bracing rhythms, and intricate textures.
For String Orchestra (Grade 2)
1. Mirrors of Water
2. Urns of Fire
These two South American-inspired tangos feature chromatic scales, harmonics, syncopated rhythms, and a range of textures. The main tunes and accompaniments are easy to play and share within the ensemble. Cello plays a high A.
Featuring Tango del Tucan and Tango de Tijuana
David Maddick compiled “Chinwagging” from the most popular tunes in “Thirty Concert Pieces” by Everything String. The piece teaches fundamental string techniques to young ensemble members, such as legato bowing, string crossing, re-taking, and right/left-hand pizzicato. It’s an enjoyable and solid introduction to foundational concepts.
For String Orchestra Grade 1
A captivating rendition of the popular birthday song with an exciting introduction, a slower version in a minor key, a lively variation, and a familiar major key ending. It's perfect for learning chromaticism and the G minor key.
Experience a captivating musical journey to Kyoto with “Two Silk Screens from Kyoto” by Stephen Chin. This evocative string orchestra piece beautifully reflects Japanese culture through graceful melodies and intricate harmonies. Immerse yourself in its meditative ambiance, as the strings evoke vivid images of cherry blossoms and serene landscapes.
Stephen Chin: “These two pieces were inspired by my visit to Japan. They capture memories of the country's beauty, contrasting the elegance of cranes by a lake with the dynamic movements of samurai. I frequently used the Japanese scale, Hirajōshi, along with other pentatonic scales throughout the set.”
