Playing with Style for String Quartet or String Orchestra: 2nd Violin Part

Martin writes second violin parts that genuinely matter. Too often the second violin line in young ensemble music becomes accompaniment filler, but here each part carries its own musical interest while remaining playable at the intermediate level. The stylistic variety across these six pieces means you can program them in any season and your players stay engaged because they're constantly discovering new musical territory: from the syncopated swing of Soft Shoe to the folk flavor of Hopak.

Stepping into a jazz club one moment and a folk festival the next. The music sparkles with chromaticism and swagger, inviting players to explore effects like glissando and tremolo not as ornaments but as essential voices in the style. There's a playful sophistication here that makes young players feel they're making real artistic choices.

Second violins in intermediate string orchestras and quartets who are ready to step beyond standard classical repertoire and want to build confidence in stylistically diverse music. These players benefit from parts that respect their musicality while introducing jazz, tango, and ragtime idioms in an accessible way.

• Encourage your second violins to listen closely to the first violin line when playing tremolo or glissando passages. These effects are most striking when the parts move in conversation rather than as isolated sound effects.
• Give the rhythm section context early by rehearsing the tango, ragtime, and jazz pieces without the string lines first. Your players will understand the groove underneath and lock in faster.
• Explore the chromatic movement Martin includes throughout the set. Mark the chromatic passages in rehearsal and isolate them at slow tempo to ensure clean intonation, especially when syncopation is involved.
• Vary your vibrato and tone color across the different styles. The ragtime pieces benefit from a leaner, brighter tone, while the tango and Mellow Moment call for a warmer approach.

Program these pieces when you want to surprise your audience with string repertoire that goes beyond the expected. A spring concert mixing classical standards with Chromatic Tango and April Rag shows the range of your ensemble. Alternatively, use individual pieces as encores or program starters throughout the year to keep rehearsals fresh and engaging.

• Playing tremolo and glissando with musical intention, not technical showmanship
• Reading and executing swing rhythms and syncopation on strings
• Understanding chromatic voice leading and maintaining intonation through shifted pitches
• Adapting vibrato, tone, and articulation across contrasting musical styles
• Listening to rhythmic and harmonic context beyond the written line