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Kingsfold: String Orchestra Conductor Score

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Kingsfold: String Orchestra Conductor Score

Traditional English Folk Song / arr. David Marlatt

Grade: 2.5

Item: 81-STR1222S

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Description
This beautiful folk song has been used as the melody for several popular hymns including: "I Heard the Voice of Jesus Say," "O Sing a Song of Bethlehem," "I Feel the Winds of God Today," and several others. This arrangement is opened by a solo violin with a sense of a lone player on the top of a hill surrounded by mist. The tune is then played in full quartet voicing leading to other variations and rescorings, ending as it began---very peacefully and reflectively.

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
Page Count: 8
ISBN10: 1-77157-119-5
ISBN13: 978-1-77157-119-7
UPC: 685462021208
SKU: 81-STR1222S

More about this title

Why we love this

Marlatt's treatment respects the tune's meditative quality while giving string players genuine material to develop musicianship. The solo violin opening and subsequent variations keep the piece engaging across rehearsals without inflating the difficulty, making it genuinely rewarding for Grade 2.5 ensembles rather than oversimplified.

What to expect

The piece evokes a solitary figure standing atop a misty landscape, voice carrying across open air. As other voices join, the texture deepens into something warmer and more communal, yet the arrangement never loses its contemplative, hymn-like quality.

Who it's for

String orchestra conductors working with developing ensembles who want to program something substantial and musically coherent at Grade 2.5. This suits orchestras with solid fundamentals but still building flexibility in style and ensemble balance.

How to get the most out of it

  • Shape the solo violin entrance with a sense of solitude and distance. The isolated melody benefits from slight space and a tone that suggests yearning rather than brightness.
  • Balance quartet voicing carefully when the full texture enters. Each voice line carries melodic weight, so avoid letting upper strings dominate the harmonic foundation.
  • Let the rescorings breathe as distinct moments rather than rushing between them. Each variation deserves its own character and tempo stability.
  • Return to the opening's reflective quality for the final statement. The ending works best when it feels like the journey has come full circle, not just wound down.

How to use it

This works beautifully as a standalone concert offering in a program mixing folk and traditional repertoire, or as a reflective interlude between more active pieces. Its eight-page length and accessible difficulty make it ideal for a mid-season or spring concert when audiences appreciate something introspective.

Skills your students will build

  • Playing with space and dynamic control in sparse textures
  • Balancing independent voice lines within quartet writing
  • Sustaining legato phrasing across full measures
  • Responding to rescoring and textural shifts while maintaining melodic integrity
  • Interpreting lyrical, hymn-like material with sensitivity rather than sentimentality

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