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10,000 Hours: String Orchestra Conductor Score & Parts

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10,000 Hours Cover Image

10,000 Hours: String Orchestra Conductor Score & Parts

As Performed by Dan + Shay and Justin Bieber

Words and music by Shay Mooney, Dan Smyers, Jordan Reynolds, Jessie Jo Dillon, Justin Bieber, and Jason Boyd / arr. Victor López

Grade: 2.5

Item: 00-49446

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Description
Looking for a way to musically connect with your students, "10,000 Hours" is a chart that will do the trick. This Billboard No. 1 HOT 100, country pop song, performed by Dan + Shay and Justin Bieber, continues to be a global success. Written at the young band level, this arrangement by Victor López will certainly engage your students. (3:00) This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, 10,000 Hours: String Orchestra Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Pop Intermediate String Orchestra
Publisher: Alfred Music
ISBN10: 1-4706-5042-8
ISBN13: 978-1-4706-5042-1
UPC: 038081571201
SKU: 00-49446

More about this title

About the Composer: Dan Smyers

Dan Smyers is a songwriter and producer who has shaped contemporary country and pop music through his work with the duo Dan + Shay. His gift for crafting songs that resonate across genres and generations has made him a dominant force on the Billboard charts. In the classroom, his music opens doors to meaningful conversations about songwriting craft, production, and the ways contemporary artists build global audiences.

Why we love this

Victor López's arrangement captures everything that made this Billboard smash accessible to young musicians while preserving the warmth and emotional directness of the original. String orchestras at this level rarely get repertoire this engaging; students recognize the song immediately, which transforms a rehearsal into a genuine musical experience rather than an exercise. The 2.5 grade level means you can teach musicality and ensemble balance without wrestling with technical barriers.

What to expect

Warm and genuine, with the kind of sincerity that resonates beyond the novelty of a popular song. The arrangement gives the melody room to breathe while the string textures create depth and sophistication that justify serious musical attention.

Who it's for

String orchestra directors seeking contemporary repertoire that actually engages middle school and early high school musicians without condescending to their musical intelligence. This arrangement works equally well for groups building their first concerts or ensembles looking to diversify their programs beyond traditional classical literature.

How to get the most out of it

  • Establish a steady, conversational tempo in rehearsal before expecting students to lock into the accompaniment recording. The song's strength lies in its unhurried pacing, so rushing creates tension rather than energy.
  • Balance the melody across your first violins so it sits comfortably above the harmonic foundation without forcing projection. This arrangement rewards transparency over power.
  • Listen carefully to the recorded accompaniment during sectional rehearsals so your students hear how their parts fit into the fuller production sound.
  • Shape phrase endings with subtle dynamics rather than dramatic cutoffs. The song's emotional core depends on gentle resolution.

How to use it

Program this early in the season when you need a morale boost and a moment to celebrate what your ensemble sounds like playing music they actually care about. It pairs beautifully on a concert with one classical work and one original composition or folk arrangement, creating a programming arc that honors both tradition and contemporary relevance.

Skills your students will build

  • Balancing melody against harmonic accompaniment in a pop/rock context
  • Sustaining emotional clarity through dynamic control and phrase shaping
  • Reading and responding to recorded accompaniment tracks
  • Translating contemporary song structure into orchestral thinking

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