String Masters, Book 3: Viola Cover Image

String Masters, Book 3: Viola: String Duo & Ensemble, Collections, Va

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String Masters, Book 3: Viola Cover Image

String Masters, Book 3: Viola: String Duo & Ensemble, Collections, Va

By Edmund M. Goehring

Grade: 2

Item: 36-10370138

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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 3: 1. Minuet (Purcell); 2. Minuet from "Proserpine" (Lully); 3. Hornpipe (Purcell); 4. Chorale (Crueger); 5. Air from "Atys" (Lully); 6. Going East (Old Netherland); 7. Air (Purcell); 8. Mazurka (Gliere); 9. Prelude (Liadow); 10. March from "Theseus" (Lully); 11. Bouree (Babell); 12. Gavotte in A (Handel); 13. Andante (Schuett); 14. March from "Occasional Suite" (Handel); 15. Theme from "First Symphony" (Brahms); 16. Gold and Silver Waltz (Lehar); 17. Waltz (Gurlitt); 18. Wilhelm from "Nassau" (Old Netherland); 19. Gavotte in G (Handel).

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Additional Details
Series: LudwigMasters String Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-63361-240-6
ISBN13: 978-1-63361-240-2
UPC: 659859491592
SKU: 36-10370138
Instrumentation: Flexible String Ensemble: Viola

More about this title

Why we love this

Goehring understood what violists need: repertoire that stands on its own while remaining flexible enough to adapt to your section's strengths and gaps. The collection moves through 19 pieces with real variety in style and mood, so you're never stuck in one corner of the viola's voice. Programming is practical too—these pieces work equally well as standalone recital items or woven into a full concert of different ensembles.

What to expect

A curated gallery of baroque and romantic miniatures that invite violas into genuine musical conversations. The pieces breathe with style: dance rhythms sparkle with rhythmic clarity, lyric passages open space for warm tone, and the harmonic writing keeps violas engaged in something richer than filler parts.

Who it's for

Violists in grades 2-3 string programs who are ready for harmonic writing and ensemble work beyond unison arrangements. This book serves intermediate youth orchestras, chamber groups, and school ensembles where viola sections need repertoire that's approachable but musically substantive.

How to get the most out of it

  • Lean into the character markings (Minuet, Hornpipe, Gavotte) as style guides. Each baroque form carries specific phrasing and articulation conventions that will make even simple viola lines sound polished.
  • Balance the viola section's blend by listening for how much the melodic line needs to project against the accompaniment. With flexible instrumentation, you may adjust dynamics to compensate for missing parts.
  • Use the piano accompaniment strategically during rehearsal to teach harmonic context and phrasing, then gradually reduce it as violas internalize their parts.

How to use it

Pull individual pieces for concert programming that matches your ensemble's needs—a Minuet and Gavotte can anchor a classical-themed concert, while the Waltz and Mazurka fit nicely into pops or family concert contexts. Use the collection across the year to build ensemble reading skills progressively, returning to earlier pieces as sight-reading warm-ups once your violas master later repertoire.

Skills your students will build

  • Reading harmonic parts and understanding voice independence within ensemble textures
  • Stylistic interpretation of baroque dance forms (minuet, gavotte, bourée, hornpipe)
  • Balancing melodic projection and accompaniment roles
  • Ensemble intonation and blend across flexible instrumentation
  • Phrasing in lyric passages (Andante, Air movements)

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