String Masters, Book 1: Violin 1 Cover Image

String Masters, Book 1: Violin 1: String Duo & Ensemble, Collections, Violin 1

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String Masters, Book 1: Violin 1 Cover Image

String Masters, Book 1: Violin 1: String Duo & Ensemble, Collections, Violin 1

By Edmund. M. Goehring

Grade: 2

Item: 36-10370117

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Description
The String Master collections are easy to intermediate, harmonized collections of classical themes and popular tunes for young string orchestras. They are presented in such a way as to be playable with any combination of strings (as the piano accompaniment can be used to fill in any missing parts, or to strengthen weak sections), with a variety of difficulty levels available in the violin parts, thus enhancing the value of this collection. The compositions in this volume have been selected for their programmatic and educational as well as developmental values. The material has also been compiled with the viewpoint of keeping it interesting from the melodic, rhythmic and harmonic outlook, and to instill well-balanced musicianship. Suitable for trios, quartets, and string orchestras. Included in Book 1: 1. "Praise God" Choral (Old German); 2. Water Music (Handel); 3. Choral (Teschner); 4. Irish Folk Song (anonymous); 5. Choral (J.S. Bach); 6. Spanish Folk Song (anonymous); 7. March from "Joshua" (Handel); 8. Berceuse (Reber); 9. Chorale (J.S. Bach); 10. The Great Gate of Kiev (Mussorgsky); 11. Chorale (Mendelssohn); 12. March from "Nutcracker Suite" (Tchaikovsky); 13. Morning Prayer (Tchaikovsky); 14. German Dance (Dittersdorf); 15. Rosamunde (Schubert); 16. Prologue (Gounod); 17. Festival March (Grieg); 18. Chorale (J.S. Bach); 19. Hansel und Gretel selection (Humperdinck); 20. Agnus Dei (Bizet).

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Additional Details
Series: LudwigMasters String Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-62-156519-X
ISBN13: 978-1-62-156519-2
UPC: 660355082368
SKU: 36-10370117
Instrumentation: Flexible String Ensemble: Violin 1

More about this title

Why we love this

Goehring understood what young string players need: recognizable material that builds confidence without oversimplifying the music itself. The flexibility built into these arrangements means you can actually use them, week to week, whether your section is full or running thin. That's practical wisdom.

What to expect

Moving through these pieces is like stepping through a musical gallery. One moment you're grounded in the steady faith of a Bach chorale, the next you're transported by the grandeur of Mussorgsky's gate or the lilting grace of Schubert's Rosamunde. The collection breathes.

Who it's for

Young string orchestras, trios, and quartets working at the Grade 2 level who need flexible, playable repertoire that doesn't demand a full complement of players every rehearsal. This collection serves violinists building foundational ensemble skills while exploring a wide stylistic range.

How to get the most out of it

  • Balance the melody between Violin 1 and 2 by listening for when each part carries the primary line; the accompaniment can support either voice depending on where the interest lives musically.
  • Use the piano accompaniment strategically to reinforce harmonies and fill textural gaps when rehearsing small ensembles, then gradually reduce it as the full group solidifies the parts.
  • Shape the phrasing across the entire collection by noting the contrasts between the chorale movements (Bach, Mendelssohn) and the character pieces (Grieg's march, Tchaikovsky's morning prayer); each requires a different rhythmic and tonal approach.
  • Approach the more familiar arrangements like the Nutcracker march and Hansel und Gretel selections as anchors for intonation checks, since students often know the melodies and can rely less on reading.

How to use it

Program selections from this collection throughout the year as opening or closing pieces for concerts, pairing lighter arrangements (the folk songs, Berceuse) with more substantial works to create variety. The range of styles also makes it ideal for thematic programs exploring different periods and genres without requiring a constant, unchanging ensemble roster.

Skills your students will build

  • Reading and sustaining multiple harmonic roles within a single piece
  • Balancing melody and accompaniment in small ensemble settings
  • Responding to flexible instrumentation and adapting to different string section sizes
  • Interpreting stylistic differences across Baroque, Classical, Romantic, and folk traditions
  • Developing intonation awareness through both soloistic and accompanimental passages

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