March of the Shadows: String Orchestra Conductor Score

$10.00 USD

March of the Shadows: String Orchestra Conductor Score

Name: March of the Shadows: String Orchestra Conductor Score
Brand: Alfred Music
SKU: 98-ST6257S
Price: 10.00 USD
Availability: InStock

By Brian Balmages

Grade: 2

Item: 98-ST6257S

$10.00

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Dark, sinister and fun - these words describe this wonderfully inventive piece that paints a picture of shadows marching in unison through hallways, dark corners, and anywhere else the imagination would like to go. Designed to introduce students to Eb and Bb in a simple setting, the work makes wonderful use of mild dissonance as the shadows come to life. Clever!

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Series: FJH Developing Strings

Publisher: The FJH Music Company, Inc.

UPC: 241444565308

SKU: 98-ST6257S

More about this title

About the Composer: Brian Balmages

Brian Balmages maintains an enviable position in American music, equally at home writing for orchestras, bands, and chamber ensembles. His works have graced major concert halls including Carnegie Hall, the Kennedy Center, and the Sydney Opera House, performed by everyone from professional orchestras to school ensembles. He holds membership in the American Bandmasters Association, won the 2020 NBA William D. Revelli Composition Contest, and received the A. Austin Harding Award from the American School Band Directors Association.

Beyond the page, Balmages conducts regularly with all-state and university ensembles worldwide, and has appeared at the Midwest Clinic, College Band Directors Conference, and numerous international venues. His music was performed at the 2013 Presidential Inaugural Prayer Service, and he has received commissions from major institutions including the University of Miami. He currently directs MakeMusic Publications and Digital Education for Alfred and MakeMusic.

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Why we love this

Balmages nails the balance between introducing real harmonic color and keeping the technical demands manageable. The mild dissonance that brings the shadows to life feels intentional and musical rather than accidental, teaching students to hear beyond major and minor without overwhelming them. It's the kind of piece that makes a young ensemble sound genuinely sophisticated.

What to expect

Creeping, deliberate, with just enough edge to hold interest. The dissonance catches you pleasantly off-guard, not harsh or discordant, but genuinely eerie. By the final measures, those shadows feel like characters in the room.

Who it's for

Grade 2 string orchestras preparing for contest or festival performance. Directors looking for repertoire that introduces chromatic harmony and mild dissonance through a narrative framework students genuinely enjoy playing.

How to get the most out of it

Shape the dynamic arch from entrance to peak carefully. The sinister quality depends on restraint in the early measures; rushing to forte diminishes the tension.
Spend rehearsal time on intonation in the dissonant passages. Even slight adjustments in tuning between parts make the shadow theme more atmospheric and less muddy.
Let the ensemble hear the full score first. Understanding how their individual line sits within the harmonic palette changes how they approach phrasing and balance.
Consider the theatrical potential during performance. A small lighting adjustment or focused staging during the shadows' entrance can deepen the audience's connection to the narrative.

How to use it

Pair this with a contrasting lighter work to showcase your ensemble's range and control. Its festival appeal makes it ideal for early-season programming while you're still building technique and confidence. The thematic clarity also makes it accessible for younger audiences without feeling condescending.

Skills your students will build

Reading and playing in Eb and Bb major contexts
Intonation in chromatic and dissonant harmonic environments
Ensemble balance when multiple parts carry thematic material simultaneously
Dynamic shaping and tension control through sustained passages
Understanding of harmonic color and dissonance as compositional tools rather than errors