3:30 Tango

“This piece is a lot of fun for young beginner string students! I have used it for a Suzuki (Pre-twinkle) class performance on our recital. The complex rhythms of the piano part combined with the ease of the violin part made the brand new beginners feel like they were playing music like the ‘big kids’ do! I highly recommend this for studios and classrooms of any stringed instruments! I’m waiting for the 3:30 Mambo, next!”

Toni Ferguson                                                                                                                            Co-Director of Suzuki Center of Nashville


Remember Me

“Tyler Merideth understands how to write in a way that has the choir and piano in collaboration, not competition mode, with both being interesting.  An accomplished pianist, choral director and composer.  Highly recommend this piece.”

Dominus Vobiscum

In typical fashion, Merideth writes equally interesting piano and choir parts that do NOT compete with each other, but are truly complementary. The voice parts are in the optimal ranges, not asking young voices to sing in uncomfortable ranges. Highly recommended. It sounds more difficult than it is.

O Holy Night

I’ve taught and conducted this multiple Christmas concerts, and it is always a favorite of the audience and singers alike. The SATB choir must have independent singers, but it is very accessible in terms of range. The children’s choir part can be sung by one or multiple choirs. We have passed the phrases among 3 younger choirs – it is very flexible. The “Fall On Your Knees” is written for maximum fullness, and the ending is subtle and fresh. Highly recommended.


A fresh treatment of a great text, but with a very sophisticated sound. This is accessible to small ensembles, but works well with larger ones as well. The harmonies and voicing of ranges serve to musically support the story of the text. Highly recommended.

To Music, Becalm His Fever

The text and music combine to painfully and beautifully convey this most personal of expressions of our struggle with mortality. The ensemble must be ready to invest emotion and intellect, but for those who do, the effort is more than worth it.

Robert King                                                                                                                       Director of Nashville Youth Choir and Fine Arts Director, Lipscomb Academy



“This is a great song for an SAB choir if you have a mixture of changed and unchanged voices for your boys. It falls in a range where they can all sound successful and strong. This 3 part song sounds much more difficult than it is, which is a sign of a very talented composer.”

Elizabeth Harrell                                                                                                                   Choir Director at Lipscomb Academy