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Danse: String Orchestra Conductor Score & Parts

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Danse Cover Image

Danse: String Orchestra Conductor Score & Parts

From African Suite

By Samuel Coleridge-Taylor / arr. Kirk Moss

Grade: 3

Item: 00-49898

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Description
Originally composed for piano as the final movement of "African Suite," Danse begins with two introductory chords followed by energetic swinging rhythms and repeated angular melodies. Students will love the moods in this festive overture, evocative of later Broadway musicals. The artistic turning point of Samuel Coleridge-Taylor's career happened in his twenties when he met the African-American poet Paul Laurence Dunbar. Dunbar influenced the young composer to concentrate on his African heritage. Born in suburban London to Alice Martin, an Englishwoman and the daughter of a blacksmith, his father, Dr. Daniel Peter Hughes Taylor, was a Creole of Sierra Leone who qualified as a Member of the Royal College of Surgeons (MRCS) and returned to Africa before his son's birth. Called Coleridge by his family, he was raised in Croydon, Surrey, by his mother and her father, Benjamin Holmans, who taught him the violin. (3:00)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Danse: 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: Belwin Concert String Orchestra
Publisher: Alfred Music
ISBN10: 1-4706-5731-7
ISBN13: 978-1-4706-5731-4
UPC: 038081575469
SKU: 00-49898

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875-1912) was a British composer whose career took a defining turn in his twenties when he encountered the work of African-American poet Paul Laurence Dunbar. This meeting sparked a profound artistic shift, leading Coleridge-Taylor to explore and celebrate his own African heritage through composition. Born in London to an English mother and a father from Sierra Leone who was a physician, Coleridge-Taylor grew up in Croydon and received his earliest musical training in violin from his grandfather.

He became one of the most performed British composers of his era, known for lyrical melodic writing and rich harmonic color. His engagement with African-American cultural themes was uncommon and courageous for a European composer of his time, and it shaped works of lasting significance in the concert repertoire and in music education.

Why we love this

Coleridge-Taylor's rhythmic vitality and melodic generosity shine through this arrangement, giving string players genuine musical material to sink their teeth into rather than filler accompaniment. The swinging rhythms and angular melodies create forward momentum that keeps younger ensembles engaged, while the festive character connects directly to what students know from musical theater. Kirk Moss's orchestration for strings preserves the original's energy and charm while making it accessible for Grade 3 ensembles.

What to expect

Danse captures the spirit of celebration and forward momentum, evoking the theatrical warmth of later Broadway writing while rooted in Coleridge-Taylor's engagement with African musical traditions. The piece opens with quiet deliberation before launching into rhythmic energy and swinging vitality, creating a dynamic arc that feels theatrical and alive. There's genuine joy in the angular melodies and the interplay between sections, making it feel less like an exercise and more like a real musical moment.

Who it's for

String orchestras at the Grade 3 level who want repertoire that feels sophisticated without requiring advanced technical facility. This works well for players who've moved beyond unison learning and are ready to manage independent lines while staying connected to an ensemble pulse.

How to get the most out of it

  • Establish the two introductory chords with clarity and weight; they set the harmonic foundation for the energy that follows, so bring them forward without rushing the release.
  • Treat the repeated angular melodies as conversations between sections rather than mechanical patterns. Violins should lead with shape and direction; violas and cellos answer with equal commitment to the phrasing.
  • The swinging rhythms benefit from slight flexibility in tempo: allow younger players room to feel the pulse rather than locking rigidly to a metronomic beat, especially in the opening measures.
  • Balance the upper voices carefully so the melody sings through, but let the rhythmic drive from lower strings remain audible; they're the engine that keeps the festive mood propelling forward.

How to use it

Program this as an opener or closer on a concert where you want to establish an energetic, uplifting tone without demanding the most advanced ensemble capabilities. It pairs well with other Masterwork Arrangements or with traditional pedagogical repertoire; the theatrical quality and historical importance of Coleridge-Taylor's work also makes it a strong choice for thematic programming around composers of African diaspora heritage.

Skills your students will build

  • Maintaining rhythmic independence across sections while playing angular, syncopated melodies
  • Balancing melody and accompaniment with sensitivity to orchestral color
  • Responding to subtle tempo and phrasing choices that bring character to repeated material
  • Reading and executing swinging rhythmic figures with ensemble precision

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