Leroy Anderson's <i>Irish Suite</i>, Part 2 (Themes from) Cover Image

Leroy Anderson's <i>Irish Suite</i>, Part 2 (Themes from): Full Orchestra Conductor Score

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Leroy Anderson's <i>Irish Suite</i>, Part 2 (Themes from) Cover Image

Leroy Anderson's Irish Suite, Part 2 (Themes from): Full Orchestra Conductor Score

Traditional / arr. Leroy Anderson, adapted by Douglas E. Wagner

Grade: 3

Item: 00-40431S

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Description
Highlights from the last three movements of this legendary suite are now available. Major themes are presented with all of the color and fresh invention of the original score. This is music that will delight and entertain audiences of all ages, and is as much fun to play as it is to listen to! Consider programming this arrangement together with Leroy Anderson's Irish Suite -- Part 1 (38440) for an extended presentation of the entire suite in half the time. (5:00)

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Additional Details
Series: Pop Intermediate Full Orchestra
Publisher: Alfred Music
Page Count: 28
UPC: 038081451220
SKU: 00-40431S

More about this title

About the Arranger: Leroy Anderson

Leroy Anderson (1908-1975) was an American composer and arranger whose gift for melody and orchestration made him one of the most performed composers of light classical music. His works, which include "Plink, Plank, Plunk" and "Sleigh Ride," combine sophisticated harmonic writing with infectious charm, earning performances by major orchestras and steady inclusion in school and community concerts.

Douglas E. Wagner is an accomplished arranger and composer specializing in accessible orchestral and band music for educational ensembles. His work preserves the character and brilliance of original scores while tailoring them to school orchestra capabilities, making standard repertoire available to a wider range of musicians.

Why we love this

Wagner's arrangement captures the wit and orchestral sophistication of Anderson's original without requiring the technical demands of a full professional premiere. The selected movements showcase Anderson's trademark melodic generosity and clever instrumental voices, giving your orchestra substantive material that feels both polished and genuinely fun to rehearse.

What to expect

The music sparkles with Irish flavor and whimsy without ever turning sentimental. Anderson's orchestration bounces between instrumental colors so smoothly that you almost don't notice how much musical ground the five-minute performance covers. It's the kind of piece that gets audiences smiling before the melody even arrives.

Who it's for

School orchestras at the Grade 3 level will find this arrangement approachable yet musically substantial. It suits conductors programming concert pops repertoire, festival entries, or audiences who respond to colorful, character-driven music that doesn't require lengthy program notes.

How to get the most out of it

  • Balance the section entrances carefully in the opening theme, particularly when thematic material passes between string, woodwind, and brass families. Anderson's orchestration relies on clear timbral contrast, so resist the urge to blend these voices uniformly.
  • Shape the dance rhythms with buoyancy rather than strict metronomic precision. Slight flexibility in the conductor's pulse around heavily syncopated passages allows the jaunty character to breathe naturally.
  • Use the recorded accompaniment available through MakeMusic Cloud to lock in ensemble alignment during early rehearsals, freeing your attention to refine balance and articulation details in later stages.

How to use it

Pair this with Part 1 (38440) for a complete Anderson Irish Suite experience that takes just over ten minutes combined. Alternatively, program it as a standalone concert opener or closer when you need music that lands with both musical integrity and immediate appeal. It sits naturally alongside other accessible pops arrangements or as a festival festival selection.

Skills your students will build

  • Balance between melodic and accompanimental textures in a multi-line ensemble setting
  • Maintaining rhythmic clarity in syncopated dance figures
  • Ensemble articulation coordination across multiple instrument families
  • Dynamic shaping of continuous melodic lines that shift between orchestral sections

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