La Mariposa, or The Butterfly in English, gives students exposure to Latin music in the form of the Mambo. The Mambo is a syncopated style of music and dance that originated in Cuba in the early 1900s. Alternating between D major and D minor, the melodic material in La Mariposa is evenly distributed between the high and low strings. The easy optional percussion parts add great dimension to the Latin feel of this piece.
This gorgeous string work would be appropriate for any concert, but would be especially fitting in a memorial concert. Starting with a haunting piano chord progression the solo piano leads to a melancholic melody in the violins. The B section then gives the cellos a chance to show off their abilities to emote. After the piece builds to an intense forte it gradually fades back into the opening chord pattern. This unusually beautiful string work will leave your audience moved emotionally and impressed with your groups ability to play with great sensitivity and expressiveness. (3:49)
The “Spitfire” was a single-seat fighter airplane successfully used by the Allies in World War II against the German Luftwaffe. With its rhythmically-charged parts for every member of the orchestra and dynamic percussion parts, the composer has created an exhilarating musical evocation of the daily life of a fighter pilot taking part in the Battle of Britain. Use this exciting work to add some variety and “zing” to your orchestra concert! (3:10)
This classic work was adapted/extracted from a larger scored work that Joseph Haydn wrote while in the service of Prince Nicholas Esterhazy. The original work contained a number of wind parts that in this arrangement have been excluded, but this fine arrangement works beautifully nonetheless as a string-only work. Playing the Rondo-Finale will introduce your students to the well-proportioned pleasures of Classical music, as well as the rondo form. (3:22)
From its opening chords to its strong finish, Drive races forward, alternating between syncopated rhythms and soaring melodies. Beginning in the key of A minor, two opposing melodic patterns emerge. The use of silence becomes an effective change of pace as the piece modulates to B minor, recapping familiar motives to a lively finish with all forces at fortissimo! (3:22)
