High Five: 2nd Violin

This piece proves that genuine fun and solid pedagogy are not mutually exclusive. By limiting the note vocabulary to the first five notes of D major while preserving authentic rhythmic energy and a rock sensibility, Bernotas gives beginning orchestras the confidence that comes from playing something that actually sounds polished and exciting on the first try.

High Five carries the infectious confidence of a rock song without leaving beginners behind. The energy is bright and propulsive, with doubled parts creating a sound that feels full and capable even in small ensembles. Playing it feels like joining something real rather than trudging through a warm-up.

This piece is built for first-year string orchestras and mixed beginner ensembles where consistency in reading and intonation are still developing. Directors seeking a genuine first concert success that doesn't compromise musicality will find this invaluable for programs serving students in their initial months of playing.

• Emphasize the rhythmic foundation with your string bass and cello parts; their doubled pairing gives the ensemble permission to lock in without overthinking intonation.
• Try the full pizzicato arrangement at least once in rehearsal to build confidence and add variety to your concert program without learning a second piece.
• Layer in the 4th finger A introduction gradually during the second or third run-through rather than front-loading it; let students feel secure with the core material first.
• Use the free drum track during dress rehearsal to let students experience the full texture and energy they'll need to sustain during performance.

Open your first concert with this piece and let your students experience immediate success in front of an audience. Its rock character and accessibility make it equally effective as a warm-up for honor groups or festival performances, and the optional pizzicato arrangement works beautifully as a contrasting encore.

• Reading in D major using the five-note open position pattern
• Sustaining tone across quarter and eighth note rhythmic patterns
• Responding to conducted tempo and style changes in a rock context
• Introduction to 4th finger A on violin and viola
• Coordinate bowed and pizzicato articulation in ensemble setting