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Helter-Skelter: String Orchestra Conductor Score

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Helter-Skelter: String Orchestra Conductor Score

By Robert D. McCashin

Grade: 3

Item: 98-ST6001S

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Description
Here's an exciting work musically depicting the hustle and bustle of many hurried people at a single event. Imitation and contrary motion are an extensive part of this fast-paced work. In a strict D dorian mode, this is an excellent pedagogically sound work.

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Additional Details
Series: FJH String Orchestra
Publisher: The FJH Music Company, Inc.
UPC: 241444539804
SKU: 98-ST6001S

More about this title

About the Composer: Robert D. McCashin

Robert D. McCashin

Robert D. McCashin holds a Doctor of Musical Arts in conducting from the University of Arizona and earned both his Bachelor and Master degrees in violin performance from Louisiana State University. He spent 43 years in higher education, serving as Professor Emeritus and former Director of Orchestras at James Madison University, where he conducted the Symphony, Chamber Orchestra, and Opera Orchestras while teaching orchestral conducting and applied strings at the graduate and doctoral levels. In 2015, he received JMU's Distinguished Teacher Award for the College of Visual and Performing Arts.

Before joining James Madison University, McCashin taught at the University of Texas at Arlington and Texas Wesleyan University, where he founded the Arlington Youth Symphony and served as conductor for the Trinity Symphony and Arlington Opera Association. As a violinist, he performed with the Fort Worth Symphony, Fort Worth Opera Orchestra, and Wichita Falls Symphony, and maintained an active private studio. McCashin has published nearly 80 educational works spanning Grades 1 through 5, many of which have become bestsellers and Editors' Choice selections. He is also co-author of the popular string class methods New Directions for Strings and A Scale in Time.

Why we love this

McCashin builds genuine pedagogical value into every measure. The strict D dorian mode frames the work clearly for students learning modal thinking, while the extensive use of imitation and contrary motion gives each section meaningful voice work rather than doubling for its own sake. A Grade 3 piece with this much musical substance and teaching opportunity is rare.

What to expect

Controlled chaos with purpose. The piece captures the frenetic energy of crowded activity through relentless rhythmic drive and overlapping melodic lines, yet stays rooted in the reflective quality D dorian brings. It's busy without being scattered, exciting without being exhausting.

Who it's for

String orchestras at the Grade 3 level seeking engaging concert or festival repertoire that doesn't sacrifice musical content for accessibility. Conductors who want their students to experience real compositional technique (modal harmony, counterpoint, texture building) within achievable technical demands.

How to get the most out of it

  • Establish the D dorian center early in rehearsal so students hear the modal quality as intentional, not accidental. Have them identify the relationship between D dorian and D major before the first full run-through.
  • Shape the imitative passages by rotating which sections enter first during sectional rehearsals. This clarifies the textural intent and builds ensemble awareness of who follows whom.
  • Balance the faster rhythmic material against the underlying harmonic motion. The hustle and bustle comes from activity, not speed alone; a well-grounded harmonic foundation keeps the energy controlled.

How to use it

Program this as a concert opener or closer to energize audiences with something contemporary and rhythmically alive. It pairs well with a slower, lyrical piece from the Baroque or Classical era, letting each work highlight different aspects of string orchestration. This is also ideal for festival competition where its musical substance and polished craft stand out against more routine Grade 3 selections.

Skills your students will build

  • Reading and performing in D dorian mode
  • Executing imitative passages with clarity of voice independence
  • Managing sustained rhythmic energy across contrary motion
  • Balancing fast textural movement against harmonic grounding

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