Believe (from <I>The Polar Express</I>) Cover Image

Believe (from <I>The Polar Express</I>): String Orchestra Conductor Score & Parts

$55.00 USD
$55.00 USD
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Believe (from <I>The Polar Express</I>) Cover Image
Believe (from The Polar Express): String Orchestra Conductor Score & Parts

Believe (from The Polar Express): String Orchestra Conductor Score & Parts

Words and music by Glen Ballard and Alan Silvestri / arr. Michael Story

Grade: 1

Item: 00-SOM05006
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Description
This beautiful ballad from The Polar Express makes a wonderful addition to your performance library. Even though the film's title suggests a sole relation to the holiday season, "Believe" will be a cherished addition to any program throughout the year. Combine this with "Rockin' on Top of the World" and you'll have a diverse suite for any program. (2:26)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Believe (from The Polar Express): 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 Beginning String Orchestra
Publisher: Alfred Music
Page Count: 32
UPC: 038081314334
SKU: 00-SOM05006

More about this title

About the Composer: Glen Ballard

Glen Ballard is a composer and producer whose film scores and popular music have shaped soundtracks across multiple decades. His work on The Polar Express demonstrates his gift for writing melody that resonates with both children and adults, creating emotional anchors within larger narrative contexts.

Ballard's approach to orchestration prioritizes clarity and accessibility without sacrificing harmonic sophistication. For educators, his arrangements and original compositions offer students the chance to play music that feels contemporary and culturally relevant while building foundational ensemble skills.

Why we love this

Michael Story's Grade 1 arrangement captures the quiet dignity of the original without oversimplifying the harmonic language or emotional arc. String players at this level rarely encounter repertoire this singable and this musically mature in the same package, making it genuinely rewarding to teach and perform.

What to expect

A hushed moment of wonder and gentle affirmation. The melody unfolds with quiet conviction, never pushing for drama, instead inviting players and listeners into intimate reflection. The arrangement sustains that contemplative quality from start to finish, creating an experience far more nuanced than a beginning-level piece typically offers.

Who it's for

Beginning string orchestras and young ensembles seeking repertoire that sounds mature beyond their technical level. Directors looking for a single-piece standalone addition or the opening work in a thematic program will find this Grade 1 arrangement both achievable and memorable.

How to get the most out of it

  • Shape the opening phrase with gentle dynamics rather than strict tempo. The song lives in simplicity, so let the melody breathe naturally through the first statements.
  • Balance the divisi sections carefully so inner voices support the melody without obscuring it. Rehearse first and second violin parts separately before combining.
  • Consider the role of silence and space. Younger ensembles often rush through rests; marking them clearly in parts helps students understand they're part of the musical gesture.
  • Aim for warm, connected tone throughout. This isn't a technically demanding part, but tonal quality and phrase cohesion matter immensely at this grade level.

How to use it

Program this as an opener to set a reflective or hopeful tone for a concert. Pair it with the companion piece "Rockin' on Top of the World" for a two-movement suite that showcases stylistic range without asking for extreme technical demands. It also works beautifully as a mid-concert breath, offering the audience (and your ensemble) a moment of calm.

Skills your students will build

  • Sustaining long, connected phrases with consistent tone quality
  • Managing divisi writing and inner voice independence
  • Reading and responding to dynamic shaping within a simple harmonic framework
  • Balancing melody and accompaniment without conductor intervention

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