Jeunesse: 2nd Violin
By Shirl Jae Atwell
Grade: 3
Item: 00-PC-0015524_VN2
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Description
Jeunesse is a French word used to describe "the time of one's youth," which is reflected in this music that is carefree, yet bittersweet. This lovely piece has a lilting quality that demands attention be paid to the legato markings, the equality between the voices, and the rhythmic pulse that moves the piece forward. Make sure not to lose the poignancy by playing the piece too fast or too slow. Let the music have control.
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Jeunesse: 2nd Violin 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:
62
SKU:
00-PC-0015524_VN2
More about this title
About the Composer: Shirl Jae Atwell
Shirl Jae Atwell holds degrees from Kansas State Teachers College and the University of Louisville, where she earned her Master of Music Theory/Composition degree. She completed four years of advanced composition study at the University of South Carolina, establishing herself as a prolific composer across multiple genres. Her achievements include winning the 1984 Clifford Shaw Memorial Award for Kentucky Composers, the 1996 National School Orchestra Association composition contest, and the 1997 Texas Orchestra Directors Association contest. Her work has been performed by major ensembles and institutions throughout the United States.
Atwell's compositions span opera, ballet, and orchestral music, with particular strength in string orchestra writing. Her operas Sagegrass, Esta Hargis, and the ballet Lucy (which won an Emmy Award in 2000) demonstrate her range as a creator. Six of her scores are housed in the permanent collection of the Paris Bibliothèque Internationale de Musique Contemporaine, reflecting her recognition within the international contemporary music community. She has been commissioned for significant works and remains a vital voice in American concert music.
Why we love this
Atwell captures something genuinely poignant in a piece that sounds effortless. The balance she strikes between carefree energy and bittersweet undercurrent gives your orchestra something emotionally substantial to explore without requiring advanced technical facility. The legato writing demands real attention to voice equality and musical shaping, turning a Grade 3 piece into a legitimate study in ensemble blend and expressive control.
What to expect
Jeunesse captures the bittersweet nostalgia of youth with a lilting, almost dance-like forward motion. The piece feels both immediate and reflective, its carefree surface texture concealing moments of quiet poignancy that reward careful listening and playing.
Who it's for
This piece is ideal for Grade 3 string orchestras developing maturity in expressive playing and ensemble balance. It works equally well for middle school orchestras building legato technique and upper-level youth orchestras seeking accessible repertoire with genuine musical substance.
How to get the most out of it
- Honor the legato markings with consistent bow pressure and seamless phrase connections; rushing here loses the emotional depth that makes this piece work.
- Balance all four voices equally so no single line dominates; this reveals the composition's harmonic color and prevents the piece from sounding thin or uneven.
- Find a tempo that lets the rhythmic pulse breathe without pushing forward; Atwell's note about letting the music have control means resisting the impulse to accelerate through momentum.
How to use it
Pair this with other lyrical works to build a concert section that showcases your orchestra's warmth and sensitivity. Its accessible level and concert appeal make it suitable for festival performances or as a centerpiece in a program balancing technical showpieces with repertoire that demonstrates musical maturity.
Skills your students will build
- Legato bow technique and phrase continuity across position shifts
- Voice equality and blend in four-part texture
- Tempo control and resistance to rhythmic acceleration
- Expressive shaping within a narrow dynamic range
- Musical interpretation of bittersweet character