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Fiddles at Shady Gulch: String Orchestra Conductor Score & Parts

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Fiddles at Shady Gulch Cover Image

Fiddles at Shady Gulch: String Orchestra Conductor Score & Parts

By Mark Williams

Grade: 1.5

Item: 00-26559

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Description
This rip-roarin' fiddle tune gives students lots of experience playing easy double stops using one open string and one fingered note. A solid crowd pleaser, this fun selection is correlated to Strictly Strings Book 1, page 35. This motivating work provides excellent bow-hand practice, as well as opportunities for working on second-finger alterations in the violins. Your students will want to play this one repeatedly! This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Fiddles at Shady Gulch: 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: Highland/Etling Strictly Strings
Publisher: Alfred Music
Page Count: 36
UPC: 038081306698
SKU: 00-26559

More about this title

About the Composer: Mark Williams

Mark Williams

Mark Williams built a distinguished career composing for school ensembles across North America and Australia. With over 200 published works and credentials including co-authorship of the Accent on Achievement Band Method, Williams established himself as a go-to voice for accessible, engaging music that students actually want to play. His compositions earned recognition through the Western International Band Clinic's Gralia Competition and multiple ASCAP Special Awards.

Williams grounded his compositional practice in classroom experience, having taught music in Washington state with a focus on elementary band. Beyond the page, he served as woodwind performer and arranger for the 560th Air Force Band and led the Spokane British Brass Band as conductor and artistic director. His education degrees from Eastern Washington University and his clinician work across 34 states, five Canadian provinces, and Australia shaped an approach to music education that prioritized both musicianship and joy.

Why we love this

This piece delivers exactly what Grade 1.5 orchestras need: accessible technical work that doesn't feel like a drill. The double-stop construction using open strings paired with fingered notes keeps everyone in the ensemble engaged while building genuine bow control and left-hand independence. Students finish this one asking when they can play it again, which is the mark of solid pedagogical writing.

What to expect

A spirited fiddle tune with genuine personality. The double-stop writing gives it a full, bright sound despite the elementary level, and the straightforward rhythmic energy invites rhythmic precision and ensemble awareness without overwhelming developing players.

Who it's for

String orchestras working at Grade 1.5 level, particularly ensembles using Strictly Strings Book 1. This works equally well for festival preparation or as a concert opener that builds confidence through a fun, approachable arrangement.

How to get the most out of it

  • Establish clean open-string intonation before layering the fingered notes; this foundation makes the double stops sit together naturally.
  • Slow the tempo enough that students can lock the bow changes cleanly, then gradually increase speed once the muscle memory is secure.
  • Watch for consistent second-finger placement in the violins, especially through shifts or position changes. Mark the exact location in rehearsal so players build reliable hand position.

How to use it

Place this early in a concert to establish ensemble energy and confidence, or feature it in a folk or novelty section. The correlated Strictly Strings reference makes it a natural fit when you're reinforcing technical concepts from that curriculum.

Skills your students will build

  • Double stops using open strings and fingered notes in single positions
  • Bow control across double-stop figures
  • Second-finger alterations in violin parts
  • Open string intonation in harmonic contexts
  • Rhythmic precision in ensemble settings

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