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Folk Strings for String Quartet or String Orchestra: 3rd Violin Part

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Folk Strings for String Quartet or String Orchestra Cover Image
Folk Strings for String Quartet or String Orchestra: 3rd Violin Part

Folk Strings for String Quartet or String Orchestra: 3rd Violin Part

Arr. and ed. Joanne Martin

Item: 00-14840X
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Description
Folk Strings is a collection of folk melodies from around the world arranged for strings. Unlike classical music, which normally has an "authentic" version, folk music often exists in many versions, with differences in the melody or lyrics. Sometimes several countries lay claim to a melody because a group of people moved to a new country and took their music with them. Most folk songs were sung and played for many years before they were written down, and their original composer is usually unknown. This collection includes melodies in a variety of moods and with rhythmic patterns which are representative of their country of origin. The arrangements in Folk Strings can be effective with players at a variety of levels. In order to provide maximum flexibility, the collection is available in a number of instrumentations.

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Additional Details
Publisher: Alfred Music
Page Count: 20
ISBN10: 1-58951-148-4
ISBN13: 978-1-58951-148-4
UPC: 654979036128
SKU: 00-14840X
Instrumentation: 3rd Violin Part

More about this title

About the Arranger: Joanne Martin

Joanne Martin

Joanne Martin divides her creative life between Canada and France, building a career that spans composing, arranging, teaching, and performing across North America and Europe. A violist by training who commands violin, cello, bass, piano, and button accordion, she has performed with the Winnipeg Symphony Orchestra, Manitoba Chamber Orchestra, and Concertante Chamber Players while simultaneously establishing herself as a Suzuki pedagogue and clinician.

Martin's educational impact runs deep. She holds recognition as a Suzuki Teacher Trainer from both the Suzuki Association of the Americas and the European Suzuki Association, and her I Can Read Music series became the standard note-reading method for beginning Suzuki students worldwide. Her flexible ensemble arrangements, including Festive Strings, Folk Strings, ViolaFest, and Magic Carpet, reflect her understanding of what mixed-level orchestras actually need. In 2007, she received the American Suzuki Institute's Suzuki Chair Award for her sustained contributions to Talent Education.

Why we love this

Martin writes for how string orchestras actually function: with mixed abilities, shifting instrumentation, and real scheduling constraints. Her 3rd violin parts never feel like filler; they contribute genuine harmonic and rhythmic color while remaining accessible. The folk material itself gives you built-in audience connection and natural programming flexibility across the school year.

What to expect

Folk Strings carries the warmth of music that existed long before notation, arranged with the clarity of someone who understands strings inside and out. The 3rd violin part sits comfortably in the texture, neither buried nor exposed, allowing players to feel both grounded and purposeful.

Who it's for

String quartets and orchestras at intermediate levels who want repertoire that teaches musicianship without requiring advanced technical facility. Teachers building mixed-ability ensembles will find the flexible voicing allows genuine participation across multiple years of study.

How to get the most out of it

  • Emphasize the rhythmic character specific to each folk tradition. Martin's arrangements preserve regional patterns, so attention to articulation and note length will reveal whether a piece moves with Scandinavian steadiness or Mediterranean lilt.
  • Balance the 3rd violin line against the melody without waiting passively for the first violins to establish everything. These parts often carry inner voices that anchor the harmonic structure.
  • Use the variety in moods across the collection as rehearsal pacing. Moving between contrasting folk traditions refreshes focus and prevents the predictability that can set in with thematic sameness.

How to use it

This collection works beautifully as a concert finale or as bridge repertoire when transitioning between standard classical works and contemporary pieces. Use individual folk selections throughout the year as warm-up material or shorter concert numbers that showcase your ensemble's cultural range without demanding the preparation time that larger classical works require.

Skills your students will build

  • Reading across multiple folk idioms with varying rhythmic patterns and phrase structures
  • Balancing inner harmonic voices while maintaining ensemble unity
  • Sustained tone quality in non-melody positions
  • Cultural awareness through regional musical characteristics
  • Flexibility in articulation and expression across different folk traditions

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