High Hopes: String Orchestra Conductor Score & Parts
As Performed by Panic! At the Disco
Words and music by Tayla Parx, Brendon Urie, Ilsey Juber, Jacob Sinclair, Jenny Owen Young, Jonas Jeberg, Lauren Pritchard, Sam Hollander and William Lobban Bean / arr. Mark Wood
Grade: 2-3
Item: 00-PK-0008721
$80.00
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Description
This arrangement of the Panic! At the Disco hit High Hopes is perfect for strings! Very smooth, rhythmic transitions and easy playability. It is arranged for two different grade levels, so you can include more performers with different playing levels. This can be performed at two different tempos with the play-along tracks: 164 and 140. The middle section, measure 81, opens up the phrasing for a more legato flavor. Great fun to play! (3:45)
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Sample Audio
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High Hopes (140 BPM)
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High Hopes (Full Tempo)
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High Hopes (140 BPM)
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Sample Video
Additional Details
Series:
Mark Wood Series
Publisher:
Alfred Music
SKU:
00-PK-0008721
More about this title
About the Composer: Tayla Parx
Tayla Parx is a songwriter and producer who has written and co-written numerous hits across pop, R&B, and rock genres. Her work spans both solo artists and collaborative projects, demonstrating versatility across multiple musical styles and production approaches.
Why we love this
This arrangement captures the infectious energy of a modern pop-rock hit while remaining genuinely playable for middle-school string players. The dual-level scoring lets you build a fuller sound without asking younger or newer players to stretch beyond their current abilities, and the two tempo options mean you can choose what works best for your ensemble's maturity.
What to expect
Bright, propulsive, and modern. The rhythmic momentum carries the piece forward with a pop-rock swagger, while the legato section midway through opens up into something more lyrical and introspective before the energy returns. It's accessible without feeling juvenile.
Who it's for
String orchestras at the Grade 2-3 level, particularly those seeking contemporary repertoire with built-in flexibility. This works equally well for programs mixing players of different experience levels and for ensembles wanting to program recognizable music that still demands real musicianship.
How to get the most out of it
- Lean into the rhythmic drive during the first section; crisp articulation on the on-beat figures will anchor the groove without losing the contemporary feel.
- Use measure 81 as a genuine shift in color: the legato phrasing in the middle section should feel spacious and singing compared to the rhythmic precision that came before.
- Work the two tempo options in separate rehearsals before deciding which suits your ensemble. 164 bpm captures the original's energy; 140 bpm lets younger players breathe and focus on ensemble balance.
How to use it
Program this on a concert where you want to engage student musicians and audience alike with music beyond the traditional canon. It pairs well alongside classical string repertoire as a standalone contemporary moment, or use it as an energetic closer to a mixed program.
Skills your students will build
- Reading and executing rhythmic precision in a contemporary idiom
- Contrasting articulation styles (rhythmic versus legato)
- Ensemble rhythmic cohesion in a syncopated, groove-based context
- Dynamic control across a full range from driving to lyrical