The latest in a series of pieces written for CoMA string players  Bee Haven is a sound environment an imaginary outdoor space populated by plants flowers and bees. The sound of honeybee humming is the main focus of the work; around this the bees’ ‘haven’ (a living environment free from agricultural poisons and habitat destruction) is created through quiet air noise and gentle brushing of the instruments. There are no events in the piece save one brief flurry of rain; placing themselves within it listeners become part of the imagined space for the duration of the work.

Written in two movements this work features La Réjouissance and Minuet and Trio from Handel's masterpiece. This arrangement goes further than others at this level by cleverly including the entire Trio section without pushing the students technically. Set comfortably in two sharps with the only low second finger patterns in Violin 1 students can focus on tone intonation and style.

This arrangement endeavors to allow string ensembles to grow with this intricate composition. It has been shortened and an emphasis has been placed on instrumental technique. The focus is on the musical sophistication of this composition with the goal of developing musicality. (2:20) / Orchestre A Cordes

Paying tribute to great artists like Dick Dale, The Ventures, and Jan and Dean, here is an exciting, fast-paced piece in the style of classic 1960s surf rock. Easy eighth and quarter note rhythms and a focus on the first and second finger patterns make it approachable for beginners, and it's a fun way to apply lessons in reading G string notes. The optional drum kit part adds flair to the rock style. (1:45) / Orchestre A Cordes

I Give You The End Of A Golden String was commissioned in 2013 by the Royal Philharmonic Society/Britten-Pears Foundation to celebrate the centenary of the birth of Benjamin Brittenand the bicentenary of thefoundation of the Royal Philharmonic Society.The piece was first performed on 8th June 2013 by the Britten Sinfonia conducted by Ryan Wigglesworth.'My aim when I began this piece was to create a long length ofstring music out of a single strand of melody.While experimenting at the beginning shaping and extending a melody in many possible directions I cameacross William Blake???s lines???I give you the end of a goldenstring;Only wind it into a ball It will lead you in at Heaven???s gate Built in Jerusalem???s wall???and this became my working method winding a single tune around itself so that it gradually formed itselfinto amuch richer more complex texture. The process happens three times producing the equivalent of acontinuous three-movement concerto.The ???first movement??? is engendered by two solo violas (the melody at the beginning alreadyentwined witha slightly alternative version of itself). The ???slow movement??? (a more extended more decorated developmentof the opening tune) is introduced by a solo cello (soon winding itself into a quartet of celli). The fast???finale??? led by two solo violins focuses on decorations within the melody rolling out ribbons of (Britten-like') thirds.' - Judith WeirSuggested minimum strings: 8.6.4.4.2 players

These three short chorales (G major, G minor, G major) are excellent warm-up exercises, but would also be very useful for training ensembles to listen for pure intonation. Vibrato and tone quality could also be focused upon, as well as watching the conductor for pauses and upbeats. Dynamics are suggested to assist with the shaping of phrases. Each chorale can stand alone, as a processional or recessional for special occasions and ceremonies, such as assemblies or parades, or can be performed as one work. Independent reading and accurate counting are essential here. Bowing can also be adjusted if desired. / Orchestre A Cordes