Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1460633 Composed by Irish Traditional. Arranged by Konrad Harley. Celtic,Irish. Score. 4 pages. Konrad Harley #1039535. Published by Konrad Harley (A0.1460633). Based on the traditional Irish melody The Coolun from The Minstrelsy of Ireland, ed. Alfred Moffat (London: Augener & Co., 1897), p. 274.Words by Thomas Moore (1779-1852).Lyrics: 1. Though the last glimpse of Erin with sorrow I see,Yet wherever thou art shall seem Erin to me;In exile thy bosom shall still be my home,And thine eyes make my climate wherever we roam.2. To the gloom of some desert, or cold rocky shore,Where the eye of the stranger can haunt us no more,I will fly with my Coulin, and think the rough windLess rude than the foes we leave frowning behind.3. And I'll gaze on thy gold hair as graceful it wreathes,And hang o'er thy soft harp, as wildly it breathes;Nor dread that the cold-hearted Saxon will tearOne chord from that harp, or one lock from that hair.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1487616 Composed by Irish Traditional. Arranged by Konrad Harley. Celtic,Irish,Romantic Period. Score. 4 pages. Konrad Harley #1064546. Published by Konrad Harley (A0.1487616). Based on the traditional Irish tune The Song of the Woods from The Minstrelsy of Ireland, ed. Alfred Moffat (London: Augener & Co., 1897), p. 294. Arranged by Konrad Harley (1986-), 2024.Words by Percy Bysshe Shelley (1792-1822).I bring fresh showers for the thirsting flowers,From the seas and the streams;I bear light shade for the leaves when laidIn their noonday dreams.From my wings are shaken the dews that wakenThe sweet buds every one,When rocked to rest on their mother's breast,As she dances about the sun.I wield the flail of the lashing hail,And whiten the green plains under,And then again I dissolve it in rain,And laugh as I pass in thunder.I am the daughter of Earth and Water,And the nursling of the Sky;I pass through the pores of the ocean and shores;I change, but I cannot die.For after the rain when with never a stainThe pavilion of Heaven is bare,And the winds and sunbeams with their convex gleamsBuild up the blue dome of air,I silently laugh at my own cenotaph,And out of the caverns of rain,Like a child from the womb, like a ghost from the tomb,I arise and unbuild it again.

Choral Choir (4-Part) - Level 5 - Digital Download SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #3025403. Published by Musik Fabrik Music Publishing (A0.535382). The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano,baritone, chorus, and chamber orchestra (0000.1100.1perc.strings), was commissioned for and is dedicated to the choir ofRoyal Holloway, University of London and Rupert Gough, director of choral music.The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416).Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguagebook written by a woman. Considered one of the most significant English mystics of alltime, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (hertrue name is unknown). Regarded even during her lifetime as a spiritual authority, her optimisticvisions have been very influential in the years that have followed.Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe(translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674),and a poem by the American writer Elizabeth Kirschner (b. 1955).The primary concept underlying this oratorio is the presence of two distinct discourses. One is asequence taken from Julian’s religious visions. The other is a sonic geography of Nantucket Island(located 30 miles off the coast of Massachusetts in the United States). This interconnected conceptwas inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Livinghis entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the transpositionof religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery ofdistinctly Orcadian character.)The landscape of Nantucket Island has been the driving force behind a large number of mycompositions for many years. In this oratorio, Julian’s visions are transposed from Norwich andmapped onto the Nantucket landscape. Each movement of the work thus has two parallel purposes:a setting of the visionary words, and a portrayal of a specific place in Nantucket’s geography. Muchof the music was planned in the actual locations. Since the soloists and choir must, by necessity, singthe words, a great deal of the landscape is left to the orchestra. Thus, the orchestra’s role issubstantially greater than simply accompaniment.Because of these two discourses, the oratorio is not intended as comprehensive working out of allaspects of Julian’s visions, nor does it use her own structure and sequence. Rather, it takes herbeautiful words, and the fundamentals of her visions, and attempts to create a new narrative andspiritual experience from them.This is the full score.  The vocal score is available for sale.  The parts are available on rental from the publisher.

Clarinet Duet Clarinet - Level 1 - Digital Download SKU: A0.1475541 Composed by Stephen Schwartz. Arranged by Claire Summerbell. 21st Century,Broadway,Instructional,Musical/Show. 2 scores. 2 pages. Claire Summerbell #1053095. Published by Claire Summerbell (A0.1475541). This easy clarinet duet arrangement of Stephen Schwartz's beautiful song 'For Good' is lots of fun to play. 'For Good' is a musical number from the hit musical Wicked. It is sung as a duet between Elphaba (the Wicked Witch of the West) and Glinda (the Good Witch of the South) as a farewell. This clarinet duet arrangement is written entirely in the lower register, making it much easier for young players to perform. Claire Summerbell is a London-based clarinetist, educator, composer and arranger. She specialises in writing intermediate jazz clarinet duets through her website Clarisheets which can be found here: http://clarisheets.com. Her work sells globally. #forgood #clarinetsheetmusic #wickedthemusical.

Instrumental Duet Instrumental Duet - Level 3 - Digital Download SKU: A0.752399 Composed by Hughie Charles and Ross Parker. Arranged by Rob Bushnell. Opera. Score and parts. 1 pages. RBMusic #5740045. Published by RBMusic (A0.752399). We'll Meet Again was written in 1939 by Ross Parker and Hughie Charles, and made famous by singer Dame Vera Lynn. The song is one of the most famous of the Second World War era. It later gave its name to the 1943 musical film We'll Meet Again, where Vera Lynn played the lead role. During the Cold War, Lynn's recording of the song was included in the package of music and programmes held in 20 underground radio stations of the BBC's Wartime Broadcasting Service (WTBS), designed to provide public information and morale-boosting broadcasts for 100 days after a nuclear attack. In 2005, Vera Lynn sang the song in London on the 60th Anniversary of VE Day in 2005, and, in 2020, a duet with Katherine Jenkins reached number 72 on the UK Singles Chart. Arranged during the 2019/2020 Coronavirus Pandemic to commemorate/celebrate the 75th anniversary of VE Day, it is designed for two treble-clef instruments in the same key. This version is in B-flat major (written pitch) – part 1 has a written range from E4 to F5 and part 2 has a written range from B3 to C5. (For other parts/versions, see my other We’ll Meet Again titles.) A recording of the original song can be found here on YouTube: https://www.youtube.com/watch?v=HsM_VmN6ytk.  Other searchable terms: Stanley Kubrick, Dr. Strangelove, Liberation Day Concert, Amsterdam, World War II, Benny Goodman, Peggy Lee, Mr. Tambourine Man, Rod Stewart, Perry Como, Barry Manilow, Johnny Cash, The Muppets Go to the Movies, The Muppets, Dudley Moore, Lily Tomlin, The Simpsons, Alfie Boe, VE Day 70, A Party to Remember, ABBA, Pink Floyd, Queen Elizabeth II, United Kingdom of Great Britain and Northern Ireland, COVID-19 pandemic virus, NHS Charities Together

Large Ensemble - Level 3 - Digital Download SKU: A0.522149 Composed by Pedro Figueredo (1818-1870). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 38 pages. Colin Kirkpatrick Publications #3507973. Published by Colin Kirkpatrick Publications (A0.522149). REPUBLIC OF CUBA: El Himno de Bayamo This national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. Although it's primarily designed for band, you can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. This arrangement consists of a four-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same 38-page PDF file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets (9th above concert pitch); Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat        (tenor horn, alto sax); Part 3 in F (French horn); Part 3a in B flat (8ve below Part 3 in B flat for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, cello, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, tuba, double bass); Part 6 in E flat (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction.   Parts 1a and 2a are provided because Parts 1 and 2 are too low to be comfortably played by flute and piccolo. By using these parts you can create a high woodwind tone above the other instruments.   The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.