Janet's Dream: String Orchestra Conductor Score & Parts
By Edmund J. Siennicki
Grade: 2
Item: 00-PK-0004225
$45.00
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Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Janet's Dream: Score | $7.00 | |
| Janet's Dream: 1st Violin | $5.99 | |
| Janet's Dream: 2nd Violin | $5.99 | |
| Janet's Dream: Viola | $5.99 | |
| Janet's Dream: Cello | $5.99 | |
| Janet's Dream: String Bass | $5.99 | |
| Janet's Dream: Piano Accompaniment | $5.99 |
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Description
An original composition, this gentle dream-like piece will provide a good introduction to 3rd position for the first violins and half position for string bass. This is a piece that can easily be altered to fit the abilities of your ensemble by changing the tempo and the dynamics. All sections play the melody!
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Janet's Dream: 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 String Orchestra
Publisher:
Alfred Music
Page Count:
66
SKU:
00-PK-0004225
More about this title
About the Composer: Edmund J. Siennicki
Edmund J. Siennicki grew up in Cleveland, Ohio, and at twelve years old had a conversation with the legendary pianist Ignacy Jan Paderewski that shaped his artistic direction for life. He completed his Bachelor's degree at Kent State University, where he composed the school's fight song, still performed at football games today, and later earned his MA from Teachers College, Columbia University. His teachers included Herbert Elwell for composition and Vincent Persichetti as a consultant, and he studied electronic music with Sergio Barroso.
As both a performing musician on bassoon and piano and an educator, Siennicki has built a career around creating accessible music for young ensembles. His approximately 200 published compositions have won recognition in National School Orchestra contests, and he served as composer in residence at the MacDowell Colony twice. He spent the bulk of his teaching career in Cleveland's junior high schools while also holding faculty positions at Michigan and Kent State. He continues to compose and visit schools for clinics, having received consecutive ASCAP awards for the past two decades.
Why we love this
This piece strikes a rare balance: it introduces genuine technical challenge (3rd position for first violins, half position for bass) without overwhelming developing players. Siennicki's orchestration ensures all sections share the melody, so every player experiences ownership of the piece's gentle narrative rather than serving as accompaniment. The flexibility built into the score means you can shape it to your ensemble's needs by adjusting tempo and dynamics, making it equally useful as a concert opener or a teaching tool.
What to expect
Dreamy and unhurried, with a soft, floating quality that evokes the quiet moments of sleep. The gentle melody travels through all voices, creating a sense of shared experience rather than spotlight and accompaniment. There's intimacy in this orchestration; it feels like a story told softly, just for your listeners.
Who it's for
Grade 2 string orchestras ready to expand their technical vocabulary without sacrificing musical expression. This piece suits ensembles with first violins working toward or just beginning 3rd position and string basses solid in first position who can comfortably explore half position.
How to get the most out of it
- Let the tempo breathe naturally; the dream-like quality depends on unhurried phrasing rather than pushing forward. Watch for the ensemble settling into a comfortable, floating character before moving into the more technical passages.
- Since all sections carry the melody, balance becomes your primary concern. Use rehearsal time to ensure violas and cellos are heard equally with the violins, creating the unified voice the piece demands.
- Introduce the position work gradually in rehearsals separate from the full ensemble. First violinists will need focused time on 3rd position intonation before the piece sounds polished; the same applies to bass players and half position.
- Adjust dynamics conservatively, especially in early rehearsals. The piece's character thrives on clarity and gentle storytelling rather than dramatic shifts.
How to use it
Open a concert with this piece to establish a warm, reflective mood before moving into brighter repertoire. Its teachable technical challenges and performance-ready character also make it a strong choice for a district festival where you want to showcase both musicianship and careful string technique development. Consider pairing it with a more energetic work to create programming contrast.
Skills your students will build
- Reading and playing 3rd position (first violins)
- Reading and playing half position (string bass)
- Balancing ensemble voices when all sections share the melody
- Sustaining gentle, dream-like phrasing over several measures
- Responding to conductor adjustments in tempo and dynamics