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Circus Tricks for Strings: String Orchestra Conductor Score

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Circus Tricks for Strings: String Orchestra Conductor Score

By Loreta Fin

Grade: 1

Item: 76-41027S

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Description
This fun piece is written in first position for all parts. It is in D Major, with a short section in b minor. It encourages the use of forearm bowing in the quaver passages and is rhythmically and harmonically straightforward while exploring a wide range of dynamics. Staccato and pizzicato notes are used, with some repetitive syncopated rhythms. (2:45)

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Additional Details
Series: Wilfin String Orchestra: Young String Ensemble Series
Publisher: Wilfin Music
Page Count: 8
UPC: 038081460437
SKU: 76-41027S

More about this title

About the Composer: Loreta Fin

Loreta Fin

Loreta Fin is an Australian violist and string educator whose career spans performance, teaching, and composition. A graduate of the Sydney Conservatorium of Music, she has maintained a principal chair with the Queensland Pops Orchestra for over 25 years while performing regularly in chamber and orchestral settings alongside internationally renowned artists. She has directed the strings program at Somerville House School in Brisbane since 1993 and has served as State Advisor for Strings with the Australian Music Examinations Board.

As a composer, Loreta has created over 100 works for string orchestra, all published by Alfred Music and performed worldwide. Her contributions to music education extend across adjudication, conference presentations at Australian and American national conferences, and leadership roles within the Australian Strings Association, where she served as both State and National President. In recognition of her sustained impact on string teaching and performance, she received the National Award for Services to Music and String Teaching at an AUSTA National Conference.

Why we love this

Loreta Fin understands exactly what early string orchestras need: music that sounds accomplished without demanding technical heroics. This piece balances genuine orchestral textures and musical variety against the realities of first-position playing, making rehearsals efficient and performances genuinely fun. The rhythmic syncopation and dynamic range ensure young musicians stay engaged while building foundational ensemble skills.

What to expect

Circus Tricks captures the playfulness and precision of trained performers, with pizzicato passages that snap, staccato bowing that sparkles, and syncopated rhythms that keep the energy buoyant. The shift into b minor adds momentary drama before the piece returns to the brightness of D Major, creating a satisfying arc that feels theatrical without becoming overwrought.

Who it's for

Grade 1 string orchestras seeking repertoire that sounds mature without exceeding technical boundaries. This work suits ensembles working in first position exclusively, whether in school programs, youth orchestras, or community settings where accessibility and immediate rehearsal success matter.

How to get the most out of it

  • Isolate the syncopated rhythmic figures in sectional rehearsals; once the rhythm is secure, the forearm bowing passages in the quaver sections will sit naturally.
  • Shape the dynamic contrast throughout. Grade 1 orchestras often play safely within a narrow dynamic band; this score rewards you for pushing the range from very soft pizzicato passages to fuller, more resonant sections.
  • Conduct the D Major and b minor sections with attention to harmonic clarity rather than instrumental blend alone. The shift in tonality should sound intentional, not accidental.

How to use it

Program this early in the concert season when working with newly formed or less experienced orchestras; the first-position writing and straightforward harmonic language allow you to build confidence quickly while still having an engaging piece ready for a December or early spring concert. Its energy and brief runtime (2:45) make it an effective opener or a strong companion piece alongside more serious Grade 1 repertoire.

Skills your students will build

  • Forearm bowing technique in quaver passages
  • Pizzicato execution with rhythmic precision
  • Staccato articulation across the ensemble
  • Reading and executing syncopated rhythmic figures
  • Dynamic contrast and shaping within a limited harmonic palette
  • Ensemble blend in major and minor tonalities

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