Alis Volat Propriis: String Orchestra Conductor Score & Parts

Newbold constructs a piece that gives your string players distinct personalities to explore within a cohesive whole. The optional harp adds an elegant textural choice that can elevate a program without complicating logistics, and the contrast between the lyrical opening and the driving presto section means every musician has moments of real responsibility, whether they're sustaining a beautiful line or navigating the energy of the faster material.

Alis Volat Propriis opens with an expressive, flowing quality that invites your strings to sing with intention and beauty. As the piece builds toward its presto, the energy accelerates into driving rhythmic material that feels urgent and alive, showcasing the technical facility your ensemble has developed.

String orchestras at the Grade 5 level who are ready to tackle contemporary writing without sacrificing the satisfaction of singing through a beautiful melody. This piece appeals to conductors looking for a contest or festival entry that demonstrates their ensemble's range and technical growth.

• Balance the optional harp line as an enhancement rather than a leading voice in the lyrical sections; let it shimmer underneath your main melodic voices.
• Mark clear sectional transitions during rehearsal, especially the shift into the presto section, so the energy change reads as intentional rather than abrupt.
• Attend to the individual lines in the contemporary passages; younger string players often disappear into the texture when writing is more complex, so isolate parts and have players identify when they carry the narrative.

This work functions beautifully as a centerpiece in a concert that pairs classical and contemporary string writing. Its five-minute-twenty-second duration makes it a strong choice for festival competition, and the optional harp provides flexibility whether you're performing in a school auditorium or a more elaborate venue.

• Sustaining lyrical lines with consistent tone and expression
• Executing contemporary rhythmic figures and metric patterns
• Navigating rapid tempo changes between contrasting sections
• Blending as an ensemble while maintaining individual line independence
• Responding to optional orchestration choices (harp) and adjusting texture accordingly