Slumber Music: String Orchestra Conductor Score & Parts

Meyer understands the balance every string director needs at the grade 2 level: music that feels substantial to play without becoming a slog to teach. The alternate fingerings reward advanced players while keeping the core material accessible, so a mixed-ability orchestra doesn't fragment into frustrated sections. The viola and bass parts actually sing instead of just supporting, which keeps those players engaged and builds the collaborative listening that matters more than technical perfection at this grade.

A lullaby carries stillness and warmth. Meyer's writing unfolds gently, with transparent scoring that lets each voice breathe rather than pile onto the next. The piece invites slower tempos and careful listening, creating the kind of calm focus that can feel revelatory in a school concert.

Grade 2 string orchestras and programs with mixed ability levels benefit most from this score. It works equally well for groups at the lower end of grade 2 who need gentle material and for stronger programs looking for music that develops musicianship beyond mechanics.

• Shape the phrasing in the viola and bass lines as deliberately as you would the first violin melody. These parts carry real musical content, and bringing them forward occasionally shifts the listener's ear and reminds the players of their importance.
• Work the dynamic contrasts in isolation before rehearsing the full score. Meyer has written them to support the lullaby character, but they require coordination across four parts to land effectively.
• Let younger players use the simpler fingerings without comment; reserve the alternate fingerings for players who seek them out or have the technique to manage them cleanly. This removes pressure and keeps focus on musicality.

Position this on a concert where you want to reset the room's energy midway through. It pairs beautifully after a brisker opening work and before something with more edge. The piece also stands alone as a short program opener or closer, especially for a holiday concert or special assembly where you want to showcase musicality over virtuosity.

• Dynamic shaping and contrast across all four string parts
• Phrasing and breath awareness in instrumental lines
• Balance and blending when secondary voices carry melodic material
• Alternative fingering application and hand position flexibility
• Listening across the ensemble to maintain cohesive phrase endings