Angels in Royal David's City: String Orchestra Conductor Score & Parts
Arranged by Carrie Lane Gruselle
Grade: 1.5
Item: 98-DST6345
$40.00
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Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Angels in Royal David's City: Score | $11.00 | |
| Angels in Royal David's City: Violin 1 | $7.00 | |
| Angels in Royal David's City: Violin 2 (Viola T.C.) | $7.00 | |
| Angels in Royal David's City: Viola | $7.00 | |
| Angels in Royal David's City: Violoncello | $7.00 | |
| Angels in Royal David's City: Double Bass | $7.00 | |
| Angels in Royal David's City: Piano | $7.00 |
Parts Added to Cart!
Description
Beginning with an unaccompanied solo that can be performed on any instrument, this beautiful arrangement weaves Angels We Have Heard on High with Once in Royal David's City to create a breathtaking setting suitable for the youngest of players. An ideal way to feature your rock star soloist, regardless of instrument!
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Angels in Royal David's City: String Orchestra Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
FJH Beginning Strings
Publisher:
The FJH Music Company, Inc.
SKU:
98-DST6345
More about this title
About the Arranger: Carrie Lane Gruselle
Carrie Lane Gruselle earned her Bachelor of Music Education from the University of Wisconsin–Eau Claire and her Master of Music Education from the University of Wisconsin–Stevens Point, where her studies centered on Suzuki pedagogy. She teaches strings to elementary and middle school students in the Appleton Area School District and serves as cello instructor at the Lawrence University Arts Academy in Appleton, Wisconsin.
Why we love this
Gruselle's arrangement solves the real challenge of early-level string orchestras: finding repertoire that sounds rich and moving while remaining genuinely playable for young musicians. By opening with a solo that invites any instrumentalist to shine, she builds community and celebrates individual players rather than relegating them to ensemble voice. The melodic interweaving of two beloved carols gives conductors a sophisticated-sounding piece that doesn't demand advanced technique.
What to expect
Reverent yet warm, with the intimacy of a single voice gradually enveloped by gentle string textures. The familiar carols anchor listeners in tradition while Gruselle's arrangement freshens these melodies through unexpected harmonic touches and a sense of collective celebration.
Who it's for
String orchestras at the earliest levels (Grade 1.5) with at least one confident soloist ready to take the spotlight. This works equally well for your concertmaster or a student from any section who has the security and musicality to carry an unaccompanied melody.
How to get the most out of it
- Let the unaccompanied solo breathe without rushing; the opening sets the emotional tone for the entire arrangement, so give your soloist space and confidence.
- Balance the solo voice against the ensemble entrance by keeping accompaniment parts transparent and slightly lighter than typical, allowing the melody to carry throughout.
- Use the carol medley structure to create distinct phrases; subtle tempo flexibility between the two tunes (if indicated in your score) can clarify the transition without losing momentum.
- Encourage vibrato in the ensemble during sustained chords to enrich the harmonic foundation and support the soloist's line.
How to use it
Program this as the centerpiece of a holiday concert, placing it after a more energetic opener to let audiences settle into the seasonal mood. The solo feature also makes it an excellent choice for a benefit concert or service music context where you want to showcase an emerging young musician.
Skills your students will build
- Listening to and supporting a featured soloist while maintaining independent ensemble lines
- Sustaining long tones with consistent tone quality
- Playing with dynamic sensitivity and expression in a accompanimental role
- Transitioning smoothly between two distinct melodic themes
- Reading and executing parts that require awareness of harmonic function rather than just note-reading