Orchestra - Digital Download SKU: S9.Q49198 Music-Dance-Drama. Composed by Harry Partch. This edition: study score. The Harry Partch Edition. Downloadable, Study score. Duration 80' 0. Schott Music - Digital #Q49198. Published by Schott Music - Digital (S9.Q49198). Schon 1933 zeigte Partch Interesse, eine dramatische Vertonung des Oedipus zu komponieren. Eine erste Fassung beendete er am 31. Juli 1951 und das Werk wurde im März des folgenden Jahres uraufgeführt. Für diese zweite Fassung nahm Partch weitere Instrumente hinzu und veränderte die Rolle des „Spokesman. In der dritten und letzten Fassung von 1967 änderte Partch die Instrumentierung nochmals geringfügig – insbesondere kamen seine Gourd Tree und Cone Gongs hinzu.Klar. · Adapted Viola · Guitars II und III · Double Bass (with Ratio Fingerboard Covering) · Kithara · Harmonic Canons · Chromelodeon I · Chromelodeon Sub-bass · Cloud-Chamber Bowls · Cone Gongs · Gourd Tree · Diamond Marimba · Marimba Eroica · Bass Marimba · Hypo-bass Marimba · Castor & Pollux · Cymbal.

Piano Solo - Level 5 - Digital Download SKU: A0.1364255 By Hillsong United. By Joel Houston, Matt Crocker, and Salomon Lighthelm. Arranged by Katie Hillenbrand. Christian,Classical. Score. 4 pages. Katie Hillenbrand #948554. Published by Katie Hillenbrand (A0.1364255). This setting of Oceans is combined with the power of Beethoven's pianistic drama. In the style of the 1st movement of the Pathetique sonata, the music illustrates the melodrama of the ocean and the level of faith it requires to answer God's call.

Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.

Flute Duet Flute - Level 4 - Digital Download SKU: A0.1491346 Composed by Pyotr Tchaikovsky. Arranged by Kan Saito / Japan Duo Notes. 19th Century,20th Century,Classical,Film/TV,Opera. Score. 33 pages. Japan Duo Notes #1068085. Published by Japan Duo Notes (A0.1491346). Title: Swan Lake (Suite), Op. 20 by Pyotr Tchaikovsky – Flute Duet ArrangementDescription:Bring the timeless elegance and drama of Pyotr Tchaikovsky’s Swan Lake to life with this enchanting flute duet arrangement. Originally composed in 1875-1876, Swan Lake is one of the most iconic ballets in classical music history. This arrangement for two flutes includes selections from the Swan Lake Suite, Op. 20, showcasing some of the most beloved and recognizable moments from the ballet.Included Movements:1.Scène [No.10 from Act 2] – The hauntingly beautiful theme representing Odette, the Swan Queen.2.Valse [No.2 from Act 1] – A graceful waltz full of charm and elegance, perfect for showcasing lyrical flute melodies.3.Danse des cygnes [No.13, Var.4 from Act 2] – The lively and iconic Dance of the Little Swans.4.Czardas: Danse hongroise [No.20 from Act 3] – A spirited Hungarian dance with rhythmic drive and intensity.5.Scène [No.28 and Finale from Act 4] – The dramatic and emotional conclusion to the ballet.Key Features:Composer: Pyotr Ilyich TchaikovskyArrangement: Flute DuetDifficulty Level: Intermediate to AdvancedFormat: Digital Sheet Music PDFPages: Score: 19 pages, 7 pages for each part *3. Danse des cygnes and 4. Czardas can be turned over, so there are no parts.This flute duet arrangement of Swan Lake preserves the drama, beauty, and emotional depth of Tchaikovsky’s orchestral score. Each movement has been carefully adapted to highlight the unique timbre and expressive range of the flute, offering both performers the chance to engage in rich melodic and harmonic interplay.Why Choose This Arrangement?Iconic Ballet Music: Perform some of the most beloved and well-known pieces from Tchaikovsky’s Swan Lake, arranged specifically for two flutes.Versatile and Expressive: Ideal for a variety of performance settings, including recitals, concerts, and formal events.Musically Rich: Suitable for intermediate to advanced flutists, offering both technical challenges and opportunities for expressive performance.Add the grandeur and romance of Swan Lake to your flute duet repertoire with this beautifully arranged version. Perfect for any performance setting, this arrangement will captivate both players and audiences alike.Keywords: Tchaikovsky, Swan Lake, Op. 20, flute duet, classical ballet, flute sheet music, classical music, Tchaikovsky arrangements, intermediate flute music, ballet music for flute, recital music.

Full Orchestra - Level 3 - Digital Download SKU: A0.1260977 By Michael Ware. By Henry Smart. Arranged by Michael Ware. Christian,Christmas,Holiday,Praise & Worship,Sacred. Score and Parts. 55 pages. Michael Ware Music #854080. Published by Michael Ware Music (A0.1260977). Angels from the Realms of Glory is Michael Ware’s creative arrangement of the carol tune REGENT SQUARE. It dramatically captures the spirit of the season with the dramatic sounds of a full orchestra. Encourage those who listen to, “Come and worship Christ, the newborn King!�

String Quartet String Quartet - Level 4 - Digital Download SKU: A0.1004707 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 132 pages. Adrian Gagiu #5038243. Published by Adrian Gagiu (A0.1004707). String Quartet No. 1 in A minor, op. 12 (1999), a cyclic composition in Neo-Classical style, partly influenced by Romanian folk music, Shostakovich and Bartok. Its compositional language, while not avant-garde and not exceedingly difficult, might help students with some aspects of modern music and liberties taken with classical forms. The first movement (Larghetto - Allegro non troppo) presents first dramatically and mysteriously the core motifs and themes of the entire composition, followed by a surprisingly relaxed sonata movement in the relative key of C major. The following Scherzo (Allegro assai), in E major, plays humorously and vigorously with derived motifs, and the third movement (Adagio assai), in F sharp minor, is treated in variations on the Romanian Christmas carol La Vitleem colo jos ('Down at Bethlehem'). The dramatic and expanding sonata form of the fourth movement (Allegro con brio - Larghetto) returns finally to the A minor of the introduction, then dissolving into the transcendent, slow coda. The mp3 audio clip is a recording of the finale. Total duration 26 min. Performing Rights Organization: SOCAN.

Piano,Vocal,Voice - Digital Download SKU: A0.502761 By Doug Little. By Doug Little. Contemporary,Praise & Worship,Sacred. Score. 4 pages. Published by Robert D Little (A0.502761). For solo voice with piano accompaniment. Begins quietly in low register, builds dramatically in the chorus. Range from low C to high G. This is a dramatic piece appropriate for church or concert.

Trumpet II, Trumpet I, Handbells, Trombone I, Trombone II SKU: HL.8738488 Composed by Milton Rusch. Arranged by Milton Rusch. Brass Parts. Fred Bock Publications. Easter, Sacred. CD-ROM. Fred Bock Music Company #BG0857. Published by Fred Bock Music Company (HL.8738488). UPC: 073999384888. 5x5.5 inches.Handbells, organ, trumpet and trombone parts make this dramatic work even more exciting. Based on the St. Francis of Assisi tune, All Creatures of Our God and King, this anthem soars with energy and movement, dramatically proclaiming the joy and blessings of Easter. Available separately: SATB (with handbells); Brass Parts.

Choir, Handbells (SATB Choir) SKU: HL.8738213 3 Octaves of Handbells. Arranged by Milton Rusch. Fred Bock Publications. Easter, Sacred. Octavo. Fred Bock Music Company #BG2129. Published by Fred Bock Music Company (HL.8738213). UPC: 073999382136. 6.75x10.5 inches.Handbells, organ, trumpet and trombone parts make this dramatic work even more exciting. Based on the St. Francis of Assisi tune, All Creatures of Our God and King, this anthem soars with energy and movement, dramatically proclaiming the joy and blessings of Easter. Available separately: SATB (with handbells); Brass Parts.

SATB choir (choir divisi) and organ - Medium - Digital Download SKU: MQ.8817-E Composed by Kevin Siegfried. Epiphany. Instrument parts. 11 pages. E. C. Schirmer Music Company - Digital #8817-E. Published by E. C. Schirmer Music Company - Digital (MQ.8817-E). Latin.In the tradition of Daniel Pinkham’s Christmas Cantata, Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent, Christmas, and Epiphany, Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts, an expressive lyricism predominates, revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the fourth movement, Surge, illuminare, based on the Epiphany text, Rise, shine...for the glory of the Lord is risen upon you. Like the third movement, this begins dramatically with the men first, then the women, proclaiming the opening text. At measure 11, the tempo launches into Vivo, with a 3+3+2 feeling and mixed meters. Rhythmic, dance-like, and fun. The organ accompaniment sometimes doubles, sometimes punctuates. The movement ends much as it began, in the dramatic slow statement of Surge, illuminare..

Full Orchestra - Digital Download SKU: A0.1503603 Composed by Schubert/Crossland. Classical,Romantic Period. 410 pages. Neil Crossland #1079059. Published by Neil Crossland (A0.1503603). My completion of Schubert’s Symphony No. 8 (Unfinished) brings to life the tantalizing fragments he left for the third and fourth movements. The third movement follows closely Schubert's surviving short score, where his intricate melodic ideas are expanded with a full orchestration that honors his harmonic language. This movement, true to Schubert’s symphonic style, carries a lively yet graceful energy, interspersed with contrasting themes that reflect both joy and contemplation.The fourth movement begins with a nod to Schubert’s Rosamunde Overture, seamlessly transitioning from the grandeur of the third movement. Drawing from the overture’s distinctive opening, I introduce a bold and majestic theme that acts as a foundation for the final movement. From here, the symphony unfolds into a dramatic and richly textured conclusion. My aim in this movement was to capture Schubert’s gift for lyrical, expansive melody while incorporating the dynamic tension and rhythmic drive that characterizes his symphonic writing.Throughout the fourth movement, I intertwine moments of serene beauty with powerful orchestral climaxes, echoing the drama of the symphony’s first movement. The use of Schubert’s melodic genius is central to this completion, with soaring strings and resonant winds building to a thrilling finale. The symphony concludes with a recapitulation of the opening theme from the first movement, bringing a sense of unity and closure to the entire work.The entire symphony, now lasting 50 minutes, forms a cohesive continuation of Schubert's original vision. This completion fills the second half of the concert program, offering a balanced and dramatic conclusion to the work Schubert began but never had the chance to finish.

Piano Solo - Level 3 - Digital Download SKU: A0.1487252 Composed by Ignaz Josef Pleyel. Arranged by Allan Badley. Classical. Score. 11 pages. Artaria Editions #1064226. Published by Artaria Editions (A0.1487252). Ignaz Pleyel (1757-1831) was at one time the most famous composer in the world. The popularity of his music eclipsed that of even his teacher Haydn and publishers vied to bring out his latest works as soon as they were finished. Some 2000 separate prints of Pleyel works had appeared by 1800 and his fame extended to every corner of Europe and as far afield as North America. Pleyel's career as a composer spanned less than thirty years with the majority of his works composed in the 1780s. He founded a successful publishing house in Paris in the mid-1790s and later began manufacturing keyboard instruments. With increasing demands on his time from his business concerns Pleyel's productivity as a composer dropped sharply and he ceased composing around 1805. Pleyel wrote very little solo keyboard music preferring instead to compose accompanied sonatas (i.e. piano trios). The attractive Rondeau in E flat (Benton 613), suitable for performance by either harp or fortepiano, illustrates many of Pleyel's strengths as a composer. It is attractive, technically resourceful and unerring in its sense of dramatic pace. Its principal theme is lively and distinctive, not too difficult technically and yet rewarding to play. The principal theme and the episodic material are elegantly constructed and reveal a sensitivity to the tone colour of the instrument. The minore section is dramatic and the octave doublings lend it a strength and power which contrasts effectively with the gentle rondeau theme. The final episode, the most technically challenging, adds a thrilling touch of drama to the closing phase of the piece.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloise�, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                                                     Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.924875 Composed by Ottorino Respighi. Arranged by Stanley M. Hoffman. 20th Century. Octavo. 8 pages. Stanleymhoffman.com #5200131. Published by stanleymhoffman.com (A0.924875). Composed in 1906, the secular art song Nebbie (Mists) by Ottorino Respighi (1879–1936) is a setting of poem by Ada Negri (1870–1945). I have been drawn to this song ever since studying voice at The Boston Conservatory. The words focus on loneliness and the darker aspects of nature, and the music is appropriately fatalistic-sounding in response. The deceptively simple-sounding scaler motion of chords in the piano combined with the melodic line that mirrors that motion but adds dramatic intervallic leaps, results in a very dramatic song. The addition of choral lines here enhances the drama inherent in the harmonies. This is a great choice for choir directors seeking a different kind of challenge for their groups. It can even be used in Halloween programs. Italian and English.

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1142148 Composed by William Heath. Classical,Contemporary,Film/TV,Thriller. 19 pages. William Heath #742526. Published by William Heath (A0.1142148). A Piano Trio, written for the Leeds University Union Music Society Winter Concert Series. Performed by the Hughes Trio featuring Christopher Hughes (Piano), Amy Howe (Violin), and Nikki Kemp (Cello) Programme Notes: This is a rather melodramatic piece that follows the Five Stages of Grief. I first sketched the piece for string quartet after an absolutely horrific interview at the Royal Northern College of Music. Feeling disheartened and dejected, I got home and messily scribbled on some manuscript paper An Elegy for Hopes and Dreams, and started writing this extremely over-dramatic and self-indulgent piece. I had abandoned this piece for an entire year before reviving it and writing the whole piece in just over a week and a half, now reimagined for Piano Trio. The piece starts with an atonal representation of grief before quickly moving into an upbeat Denial section which features a sort of fragile and manic sense of repression as a theme that initially sounds upbeat quickly unravels with whole-tone scales and chromatic movement. A representation of Anger is then seen with the whole trio playing the same melody with a jarring Bb in the harmony. The denial and anger sections repeat and regress before abruptly moving to a Bargaining section in which the original theme, ominously played in the lower piano and cello registers, is juxtaposed with a conjunct, major variation of the same theme in the violin. The Depression section takes the form of a cello solo as I find it to be one of the most emotive and expressive instruments and I take inspiration from Elgar's Cello Concerto, which I angstily listened to on the flight home from my aforementioned interview. A lilting and lamenting cello solo is contrasted with an atonal, aimless piano accompaniment which reflects the topic of depression. The bargaining theme reprises slightly with both strings performing the major variation before leading to the final climax. The Acceptance section sees the principal theme finally fully resolved in a major mode and with diatonic harmony. This is an expressive section as the whole trio plays the same melody with very simple yet emotive harmonic accompaniment underneath. Here the depression theme pairs with the principal theme coming to a final resolution. For individual parts for performance please contact owhcomposer@gmail.com.