Sleepy Walrus Waltz Cover Image

Sleepy Walrus Waltz: String Orchestra Conductor Score

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Sleepy Walrus Waltz Cover Image

Sleepy Walrus Waltz: String Orchestra Conductor Score

By Lynne Latham / arr. Thom Sharp

Grade: 2½

Item: 36-50255135

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Description
Your bass section emulates a walrus sleeping (in A minor) and waking from his slumber. His alarm clock is the first violins and their harsh trill. Basses use half, 1st, 2nd, and 3rd positions, set up logically and with fingerings provided. Violins and vio

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Additional Details
Series: LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-68-296659-3
ISBN13: 978-1-68-296659-4
UPC: 654690536679
SKU: 36-50255135
Instrumentation: String Orchestra

More about this title

Why we love this

Latham and Sharp have crafted a piece that turns the bass section into storytellers rather than harmonic support. The walrus narrative gives young players a vivid character to inhabit, and the logical position progression from half position through third position feels earned rather than arbitrary. It's the kind of piece that makes conductors smile because students are engaged in the music rather than counting measures.

What to expect

A gentle, slightly comic journey that opens in the murky comfort of a sleeping walrus and erupts into chaotic wakefulness. The piece balances humor with genuine musical storytelling, inviting players to think beyond the notes on the page.

Who it's for

Grade 2½ string orchestras ready to explore character-driven playing and position development. This works especially well for groups that benefit from narrative scaffolding and have developed enough bass technique to navigate multiple positions with confidence.

How to get the most out of it

  • Shape the opening bass soli with clear rubato that suggests drowsiness; avoid a metronomic pulse until the alarm clock trills interrupt.
  • Exaggerate the contrast between the walrus's warm, blunt tone in the lower positions and the piercing first violin trill. The piece only works if that wake-up call lands.
  • Use the provided fingerings as written. They're designed to keep the bass line singable across position shifts, so altering them often creates awkward jumps.

How to use it

Program this as a standalone narrative moment in a spring concert, or pair it with other character pieces to build a themed set. Its modest duration and clear story arc make it ideal for introducing younger audiences to string repertoire.

Skills your students will build

  • Bass technique across half position, 1st position, 2nd position, and 3rd position
  • Tonal control in the lowest register
  • Musical storytelling and character interpretation
  • Coordination between bass soli and ensemble accompaniment
  • Response to conductor cues for abrupt tempo and character changes

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