Flute,Piano - Level 2 - Digital Download SKU: A0.1049568 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Henrique F Mangoni. Contemporary,Pop,Rock. Score and part. 7 pages. Henrique Franke Mangoni #653941. Published by Henrique Franke Mangoni (A0.1049568). Drivers License by Olivia Rodrigo. Easy intermediate arrangement for flute and violin. This edition includes the chords and the lyrics of the song. Driver's License, along with Good 4 U, is the great hit of the album Sour by Olivia Rodrigo. Play this song with this sheet music! Subscribe to my YouTube channel to know more about my work! drivers license olivia rodrigo, olivia rodrigo drivers license, drivers license chords, driver's license song, song drivers license, drivers license piano chords, drivers license piano, drivers license piano sheet music, drivers license piano easy, drivers license piano chords easy, drivers license olivia rodrigo flute, drivers license olivia rodrigo flute sheet music, drivers license sheet music flute.

Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1378385 By Tony Bennett & Amy Winehouse. By Edward Heyman, Frank Eyton, John Green, and Robert Sour. Arranged by Wayne M. Grimmer. A Cappella,Barbershop,Contest,Festival,Jazz,Standards. 4 pages. Wayne Grimmer #963009. Published by Wayne Grimmer (A0.1378385).

Piano Accompaniment - Level 3 - Digital Download SKU: A0.1400460 By F.Chopin . By F.Chopin . Arranged by pfkaori. Classical. Accompaniment. Duration 148. Pfkaorimusic #983655. Published by pfkaorimusic (A0.1400460). Composer: F.Chopin Song: Valse (Waltz)/op.64-1 Key: Cdur Orchestration: Piano accompanimentbpm:180~185 approximately*This is an arrangement of the 1st edition.*Please refrain from uploading this product alone to SNS or using it for commercial purposes.*It can be used commercially only as an accompaniment sound source.Please use it as an accompaniment sound source.Thank you for your support!

Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1504151 Composed by Kevin G. Pace (ASCAP), Kathryn W. Hales. Christian,Praise & Worship,Religious,Sacred,Spiritual. 3 pages. Kevin G. Pace #1079607. Published by Kevin G. Pace (A0.1504151). A beautiful, sacred hymn based on Helaman 5:12 from the Book of Mormon, Another Testament of Jesus Christ.  Music by Kevin G. Pace.  Text by Kathryn W. Hales.Text:Upon the Rock of our Redeemer, We will build a foundation sure, Jesus Christ, the Lord our Savior, He can make us clean and pure. He is the source of covenant blessings, He is the fount of peace, love and joy, We'll share His words with joy and cheerfulness, And with truth our tongues employ.When winds of wrong assail us, When the whirlwinds begin to swirl, When the hail storm beats down with fury, We the flag of truth unfurl. We'll plant our standard on the gospel Rock, The steady Rock of our Redeemer sure, We will stand fast and never be unafraid, We will cleave to truth evermore.The gulfs of mis'ry, woe, and evil Have no power to pull us down, If we build on the words of Jesus, He's the Rock of solid ground. He is the Rock of our Salvation, He is the source of everlasting love, He's gone ahead to heav'n To prepare the way, To build mansions grand up above.

Violin Duet Violin - Level 3 - Digital Download SKU: A0.1488280 Composed by William Shield. Arranged by Robert Hoskins. Classical. 59 pages. Artaria Editions #1065168. Published by Artaria Editions (A0.1488280). Artaria Editions AE388The London premires of Opp.1 and 2 probably took place at William Napier's morning concerts held at the Thatched House Tavern in St. James's Street. The performers at this venue were gentlemen amateurs backed with some professional assistance (possibly including Shield) and the audience consisted largely of nobility (but not ladies) on their way to court. Napier's concerts were more than a vehicle for airing newly published works or composers, and when it was proposed to revive the series in 1792, the Morning Chronicle of 28 January recalled that they had served to improve the taste and science of the amateur as well as introducing professional merit to the highest patronage. Shield's duets, expressly written with talented amateurs in mind (according to the title-page of Op.2), exactly suited the repertoire of the morning concerts.Both sets of duets are neatly engineered with a violinist's grasp of technique and articultion, and with each part sharing in the musical interest. The prevailing spirit of Op. 1 is Italianate and there are many attractive details to be heard. The amoroso movement of No.1, for example, with its ardent episodes and the hunting rondo of No.2 which begins with the representation of distant horn calls and later depicts a chromatically wounded prey. If the opening of No. 3 gives the impression of an exotic dance, including the audible thrum of a guitar or harp, then the rondo of No.4 can be imagined as a spring song animated with birds and breezes. The opening of No.5 is as propulsive as a theatre overture whilst No.6, written for either violins or flutes, assumes a suitably fluty tone. Op.2 is an altogether more compact set which sharpens the focus on elements already noticed in Op.1. Shield employs a variety of forms including minuet, variations, rondo and canon; and he also adopts vocal styles including lyric song (for the affettuoso movement of No.1) and arioso (for the opening adagio of No.2). The first movement of No. 3 sounds like a mini stage overture whilst the adagio of No. 5 can be heard as a melting duet. Both movements of No. 4 adhere to folk style, incorporating hurdygurdy like figurations and simulated versions of the northern pipe-tunes which Shield himself so avidly collected.  This edition presents as faithfully as possible the intentions of Napier's source. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets.  Robert Hoskins.

String orchestra - Grade 2 - Digital Download SKU: IZ.OMW144 Composed by Marcia Stockton. Score and Parts. 21 pages. Imagine Music - Digital #OMW144. Published by Imagine Music - Digital (IZ.OMW144). 9 x 12 in inches.Harvest Dance was originally written in 1995 as a piece for small orchestra (strings plus woodwinds and french horns). It is a dance of unbridled joy to celebrate a rich harvest of nature's bounty. In 2013, I transcribed it from my private archive of old dusty audio tapes no one had ever heard, and with the CarsonValley Sinfonia in mind, revised it for string orchestra without winds.1995 was a low period in my life. The pressure from my job in the technology industry was relentless, and personal relationships at that time sometimes brought emotional pain instead of solace and comfort. Grasping for any ray of hope to illuminate the gloom, I turned back to my original love: music.Immersing myself deeply in the process of music creation, I rediscovered not only a talent for composition, but even more importantly tapped into the creative source of uplift, joy, and energy, the source of all gifts, that is available to every sincere person. During those years, composing music was a vital lifeline. Like the powerful beam of the rescuer's flashlight guiding you toward the daylight when you are emerging from a dark cave. Like a new baby being born. Now a great many years later, life now brimming with music and friends, and having put old sorrows far behind me, music from that time of troubles still fills me with the same joy as when I composed it, and I hope it uplifts you.Harvest Dance is dedicated to my friend, composer John O'Neill, with profound appreciation for his encouragement, as well as helping me learn the practicalities of arranging for a string orchestra.

Piano Accompaniment - Level 2 - Digital Download SKU: A0.1224573 By S.C. Foster. By S.C. Foster. Arranged by pfkaori. Folk,Multicultural,Traditional,World. Accompaniment. Duration 120. Pfkaorimusic #820680. Published by pfkaorimusic (A0.1224573). Composed by S.C. Fosterbeautiful dreamer is a piano accompaniment sound source♪*The violin flute sound of the sample sound source is not included.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stellaâ€� (2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€�) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.â€� The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek outâ€� in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginningâ€� – as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.â€� After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginningâ€� again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motetâ€� sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only.  The complete parts and each seperate part are also available as seperate items.

Flute - intermédiaire - Digital Download SKU: ZY.DO-1553 Composed by Kevin Swierkosz-Lenart. Score. 4 pages. Les Editions Doberman-Yppan (digital) #DO 1553. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1553). Composing for solo flute is a challenge. The only way to come out victorious is to turn limitations into possibilities, to leave to the listener's imagination what the sound cannot return, to play on the strengths-and there are many-of the instrument to which the score is destined.The flute, so archaic and close to human vocality, lends itself perfectly to music that alludes to theatrical aspects. So I decided to take up the request of the talented Italian flutist Michela Podera, and compose a short piece for her, all centered on recitative-flavored etchings, sometimes whispered and sometimes declaimed in a stentorian manner. The immediate source of inspiration was a painting by the Neapolitan painter Vincenzo Laricchia, to whom I owe the poetic mood and title of this work of mine: Masquerade.Composer pour flûte solo est un défi. La seule manière de sortir victorieux est de transformer les limitations en possibilités, de laisser à l'imagination de l'auditeur ce que le son ne peut restituer, de jouer sur les forces - et il y en a beaucoup - de l'instrument auquel la partition est destinée.La flûte, si archaïque et proche de la vocalité humaine, se prête parfaitement à une musique qui évoque des aspects théâtraux. C'est pourquoi j'ai décidé d'accepter la demande de la talentueuse flûtiste italienne Michela Podera et de composer pour elle une courte pièce centrée sur des gravures au goût récitatif, parfois chuchotées, parfois déclamées de manière tonitruante. La source immédiate d'inspiration était une peinture du peintre napolitain Vincenzo Laricchia, à qui je dois l'ambiance poétique et le titre de cette œuvre: Masquerade.

1 Piano,4 Hands - Level 1 - Digital Download SKU: A0.1437740 By Wolfgang Amadeus Mozart. By Wolfgang Amadeus Mozart. Arranged by pfkaori. Classical. Accompaniment. Duration 230. Pfkaorimusic #1017787. Published by pfkaorimusic (A0.1437740). ~ Piano sound source that allows you to enjoy piano duet even by yourself ~Composer: Mozart Song: Turkish March K.331 Orchestration: Piano 4hands (Second only)BPM:120Level:beginnerThere are individual differences in level.*This is an arrangement of 4-handed piano duet for beginners (teacher and student ver.). Only the second piano sound source will be provided.Please refrain from using this product alone for commercial purposes or uploading it on SNS, etc. Please use it as an accompaniment?Click here to purchase sheet musichttps://www.sheetmusicdirect.com/en-US/se/ID_No/1539504/Product.aspx.

String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1334145 Composed by Trad & Alan Edgar. Folk,Traditional. 36 pages. Alan Edgar Ted Moon #920362. Published by Alan Edgar Ted Moon (A0.1334145). Here'a suite about life in the Isle of Man based on Manx folk tunes and religious music.  All the harmonies and some decorations are mine. There are 5 movements. I MAINLY CELEBRATIONS:  I found all the melodies in The Mona Melodies, a group of traditional tunes (probably heard in Douglas) collected in 1820.  Hunt the Wren is a surprising, lively, traditional event on St Stephen's Day when villagers dance and sing round the town hoping for gifts. This tune is dorian.  A Lullaby in aeolian follows, then In Praise of Wine, in ionian, while at the same time fragments of the Lullaby are heard from inside a home.  The Wren group return.II FAITH Religious music  I assume could have been heard in Manx churches.  Two supposedly Celtic-style antiphon melodies from a 13th-century breviary from Caen  (a) The Holy Cross (b)  The Saints.  I made them into parallel organum with a drone.  Between them is an elaborate ancient melody (labelled Martyrs) for Psalm 80 (Lord, come and save us), which I found with Gaelic words.  I accompany with 3 more parts.  The whole movement is in dorian mode.III EMOTIONS:  Mourning for a Prince is a mixolydian tune also found in The Mona Melodies.  I give the tune to the viola.  In Praise of Beauty is sung by the cello in C major.  This tune is also found in The Mona Melodies, as Brown Oxen (Berry Dowin).  William Brown (Illiam Dhoan) (should be Dhone, I believe) is the air used for Love Lost and Found: again from The Mona Melodies.  I made it C minor at first (love lost) , then  the original version in F major (love found).IV CAR JUAN NAN (Let's All Dance) is a reel, from which I took a few bars and made it into a round.  My source was the book Ed. Colin Jerry Kiaull yn Theay 1:  Manx music and songs for folk instrumentsV WORK, REST and PLAY.  The Spinning Song is major/ionian, the Milking Song is major pentatonic, but my mooing bass part does not respect that: I found those tunes in  Kiaull yn Theay.   The Harvest Celebration Dance (Yn Mheillea) is from manxmusic.com.  The Goodnight Song (Arrane Oie Vie) was traditionally sung after a Christmas Eve event in the church, after more formal proceedings and after the singing of many gloomy vaguely religious songs there and a visit to the pub.  Collected from Mr E, Corteen and Mr T.  Taggart of Malew:  my source:  manxmusic.com.DURATION: 15 minutes.

Piano Accompaniment - Level 2 - Digital Download SKU: A0.1389212 By Burgmüller . By Burgmüller . Arranged by pfkaori. Classical. Accompaniment. Duration 124. Pfkaorimusic #972745. Published by pfkaorimusic (A0.1389212). Composer: Burgmüller Song: 25 Leichte Etuden Tendre fleur op.100-10 Orchestration:  piano accompanimentKey: D major Level: Beginner to intermediate (level varies by individual)*There is no flute sound in the Youtube sample sound source. Only piano accompaniment will be provided.There will be a drum count before the performance. Please check the sample sound source before purchasing.

Violin Duet Violin - Level 3 - Digital Download SKU: A0.1488279 Composed by William Shield. Arranged by Robert Hoskins. Classical. 89 pages. Artaria Editions #1065167. Published by Artaria Editions (A0.1488279). Artaria Editions AE387The London premires of Opp.1 and 2 probably took place at William Napier's morning concerts held at the Thatched House Tavern in St. James's Street. The performers at this venue were gentlemen amateurs backed with some professional assistance (possibly including Shield) and the audience consisted largely of nobility (but not ladies) on their way to court. Napier's concerts were more than a vehicle for airing newly published works or composers, and when it was proposed to revive the series in 1792, the Morning Chronicle of 28 January recalled that they had served to improve the taste and science of the amateur as well as introducing professional merit to the highest patronage. Shield's duets, expressly written with talented amateurs in mind (according to the title-page of Op.2), exactly suited the repertoire of the morning concerts.Both sets of duets are neatly engineered with a violinist's grasp of technique and articultion, and with each part sharing in the musical interest. The prevailing spirit of Op. 1 is Italianate and there are many attractive details to be heard. The amoroso movement of No.1, for example, with its ardent episodes and the hunting rondo of No.2 which begins with the representation of distant horn calls and later depicts a chromatically wounded prey. If the opening of No. 3 gives the impression of an exotic dance, including the audible thrum of a guitar or harp, then the rondo of No.4 can be imagined as a spring song animated with birds and breezes. The opening of No.5 is as propulsive as a theatre overture whilst No.6, written for either violins or flutes, assumes a suitably fluty tone. Op.2 is an altogether more compact set which sharpens the focus on elements already noticed in Op.1. Shield employs a variety of forms including minuet, variations, rondo and canon; and he also adopts vocal styles including lyric song (for the affettuoso movement of No.1) and arioso (for the opening adagio of No.2). The first movement of No. 3 sounds like a mini stage overture whilst the adagio of No. 5 can be heard as a melting duet. Both movements of No. 4 adhere to folk style, incorporating hurdygurdy like figurations and simulated versions of the northern pipe-tunes which Shield himself so avidly collected.   This edition presents as faithfully as possible the intentions of Napier's source. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.