Abernathies on Parade: String Orchestra, Conductor Score & Parts

Broughton brings his decades of film scoring experience to this Grade 2.5 work, crafting something that feels professionally composed without overwhelming young musicians. The infectious central melody gives the whole ensemble something genuinely satisfying to play together, and the fresh orchestrations keep rehearsals engaging even as parts cycle through similar material.

The piece radiates a genial, almost vaudeville-inspired charm. You hear Broughton's film scoring sensibility in the clarity of orchestration and the way the melody bounces through different colors, creating something uplifting and uncluttered that keeps audiences smiling.

String orchestras at the early intermediate level will find this piece accessible and immediately playable. Directors working with combined high school and middle school ensembles, or strong community string programs, have a work that engages every section without requiring technical gymnastics.

• Establish the main melody's character in early sectional rehearsals with your first violins and violas. Once that tune sits firmly in the ensemble's ear, the repetitions in different scorings will feel like variations rather than repetition.
• Balance the melody between sections as it passes through the parts. String orchestras at this level often let the violins dominate; mark dynamic adjustments so secondary voicings remain audible.
• Keep the tempo steady and energetic throughout. The 'parade' concept suggests forward motion without rushing; a metronome helps younger players resist the tendency to drag between phrase endings.

Program this in a pops or family concert context where its lighthearted energy lifts the mood. It pairs naturally with other accessible string works on a spring concert, or use it as a closer to a school assembly where you want to leave your audience in good spirits.

• Playing consistent intonation in unison and octave doubling
• Maintaining steady tempo and pulse as melody transfers between sections
• Balancing dynamic levels to feature primary versus secondary material
• Responding to conductor shape and articulation across a full ensemble