Download Digital Sheet Music of Ora Labora--Come, Labor On for Flute and Piano

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PIANO & KEYBOARDS

Piano solo 39 Easy Piano 9 Piano, Vocal and Guitar 6 C Instruments 6 Organ 5

Piano, Voice 4 1 Piano, 4 hands 2 Harpsichord 1

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GUITARS

Guitar 3 Guitar notes and tablatures 3 Ukulele 2 Melody line, (Lyrics) and Chords 1 4 Guitars (Quartet) 1

VOICE

Choral SATB 10 Soprano voice, Piano 7 Choral Unison 6 Vocal duet, Piano 5 Alto voice, Piano 3

Choral 3-part 3 Choral 2-part 2 Choral SSAA 1 Choral TTBB 1 Vocal duet 1 Choral SSAATTBB 1

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WOODWIND

Flute and Piano 6 Alto Saxophone and Piano 4 2 Flutes (duet) 3 Clarinet and Piano 3 Tenor Saxophone and Piano 2

Flute 2 Clarinet 2 Oboe, Piano (duet) 2 Saxophone ensemble 1 Piccolo, Piano 1 Clarinet Quartet: 4 clarinets 1 Flute, Cello, Guitar 1 Bass Clarinet, Piano 1 Baritone Saxophone, Piano 1 Alto Saxophone 1 Saxophone Quartet: 4 saxophones 1 English horn, Piano 1 Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1 Clarinet Ensemble 1

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WOODBRASS

Trombone and Piano 5 Trumpet 4 French Horn and Piano 3 Brass Quintet: 2 trumpets, horn, trombone, tuba 3 Trumpet, Piano 2

Brass quartet : 2 trumpets, trombone, tuba 2 3 Euphoniums 1 French horn 1 Trumpet, Bassoon (duet) 1 Euphonium, Piano (duet) 1 English horn, Piano 1 Trombone 1

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STRINGS

Violin and Piano 7 Cello, Piano 6 String Quartet: 2 violins, viola, cello 5 Violin, Cello (duet) 4 2 Violins (duet) 3

Violin, Viola (duet) 2 Viola, Piano 2 Violin 2 Harp 1 String quartet: 4 violins 1 Viola 1 Violin, Cello, Clarinet 1 Viola, Cello (duet) 1 Harp, Flute (duet) 1 Cello 1

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PERCUSSION & ORCHESTRA

Concert band 33 Orchestra 9 String Orchestra 2 Chamber Orchestra 2 Handbells 2

Jazz Ensemble 1 Percussion Ensemble 1

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Ora Labora--Come, Labor On

Flute and Piano

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6 sheet music found

Sullivan: The Lost Chord for Alto Flute & Piano Flute and Piano

Flute,Piano - Level 4 - Digital Download SKU: A0.549456 Composed by Sir Arthur Seym…(+)

Flute,Piano - Level 4 - Digital Download SKU: A0.549456 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497233. Published by jmsgu3 (A0.549456). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. Â School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur Oâ€™Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeareâ€™s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883. Â

$26.95 24.85 € #Flute and Piano #Sir Arthur Seymour Sullivan #dynamic control #Sullivan: The Lost Chord for Alto Flute & Piano #jmsgu3 #SheetMusicPlus

Salome Tanz (Dance of the Seven Veils) Flute and Piano

Flute,Piano - Level 5 - Digital Download SKU: A0.1287662 By James Strauss. By Richa…(+)

Flute,Piano - Level 5 - Digital Download SKU: A0.1287662 By James Strauss. By Richard Strauss. Arranged by James Strauss. 20th Century,Chamber,Contemporary,Jewish,Sacred. Score and part. 31 pages. James Strauss #878687. Published by James Strauss (A0.1287662). Strauss and the Dance of the Seven VeilsThe Dance of the Seven Veils is a performance by Salome before King Herod Antipas, depicted in modern stage productions, literature, and visual arts. This dance is an elaboration of the New Testament story of the Feast of Herod and the execution of John the Baptist. While the New Testament does not give the dance a name, the title Dance of the Seven Veils originated from the 1893 English translation of Oscar Wilde's French play, Salome, which included the stage direction Salome dances the dance of the seven veils. Richard Strauss also incorporated the dance into his opera Salome in 1905.The concept of Salome's dance involving seven veils can be traced back to Wilde's play, where he was influenced by earlier French writers who portrayed Salome as a symbol of female lust. Wilde envisioned the dance as an act of unveiling, symbolizing the revealing of Salome's true self. He drew inspiration from Gustave Flaubert's story Herodias, in which Salome performs a hand dance to please Antipas. Wilde initially intended to follow Flaubert's version but later changed his approach.The idea of the dance being associated with veils can be linked to the popularity of veil dances during that time, which were westernized interpretations of Middle Eastern dance styles. Notably, the dancer LoÃ¯e Fuller was known for her veil dances. Wilde's play did not provide a detailed description of the dance, but it is commonly assumed to involve a series of veils being removed, symbolizing the process of unveiling oneself.Strauss's operatic adaptation of Salome also includes the Dance of the Seven Veils. Although the dance remains unnamed in the music, Salome's sexual fascination with John the Baptist seems to motivate her request, while Herod appears pleased. The visual interpretation of this scene can vary depending on the production, with some emphasizing its eroticism. Strauss specified that the dance should be thoroughly decent, as if it were being done on a prayer mat, but some performances have portrayed it in a more explicit manner.James Strauss's choice to program well-known orchestral pieces for the flute and piano stems from the technical challenges they present, both instrumentally and interpretatively. It allows the flautist to explore different timbres and a romantic style of playing, inspired by Orchestral mass sustained phrases and intense vibrato found in this repertoire. Transcribing orchestral pieces for the flute presents certain difficulties, such as playing loudly and with a full tone in the lower register or producing high notes that gradually fade away. Despite these challenges, the purpose is to challenge the flute's traditional role and explore its expressive capabilities through this repertoire.

$29.99 27.65 € #Flute and Piano #James Strauss #Salome Tanz #James Strauss #SheetMusicPlus

Harley Moon's Spring Flute and Piano

Flute,Piano - Level 4 - Digital Download SKU: A0.1452605 Composed by Michael Davis.…(+)

Flute,Piano - Level 4 - Digital Download SKU: A0.1452605 Composed by Michael Davis. 21st Century,Classical. Score and part. 25 pages. Michael Davis Music #1031910. Published by Michael Davis Music (A0.1452605). Harley Moon’s Spring (2024) for flute and piano by Michael Davis.About the piece: My wife and I have the best herd of equines, and no, I am not biased. Spending time with them in their pasture during the spring when everything is blooming is like entering a magical wonderland away from the stresses of daily life. Our miniature horse, Harley (affectionately called Harley Moon), loves frolicking in the tall grass and flowers in the pasture. Harley Moon’s Spring is inspired by his daily frolic. About the composer: Michael Davis is an educator, performer, and composer specializing in classical saxophone. They earned saxophone performance degrees from the University of Iowa (BM) and the University of North Texas (MM, DMA). They are committed to collaborating with and promoting people from historically underrepresented groups, with a particular focus on LGBTQ individuals.

$15.00 13.83 € #Flute and Piano #Michael Davis #Harley Moon's Spring #Michael Davis Music #SheetMusicPlus

Amazing Grace for Flute & Piano Play-Along & Demonstration Flute and Piano

Flute,Piano - Digital Download SKU: A0.1070035 Composed by Traditional American Mel…(+)

Flute,Piano - Digital Download SKU: A0.1070035 Composed by Traditional American Melody. Arranged by Edna J. Bloom. Christian,Contemporary,Folk,Gospel,Sacred. Accompaniment. Duration 94. Bloom Musicnotes #5214561. Published by Bloom Musicnotes (A0.1070035). This flute & piano arrangement is designed for the success of novice collaborators or busy musicians. Each performer spends time with both the melody and tasteful accompaniment parts. Although elegantly simple, the music presents three variations to focus the ear on the message of this beloved hymn. Performance time is approximately 1:35.

$2.99 2.76 € #Flute and Piano #Traditional American Melody #piano #Amazing Grace for Flute & Piano Play-Along & Demonstration #Bloom Musicnotes #SheetMusicPlus

Amazing Grace (for Flute & Piano) Flute and Piano

Flute,Piano - Level 1 - Digital Download SKU: A0.836150 Composed by Traditional. Ar…(+)

Flute,Piano - Level 1 - Digital Download SKU: A0.836150 Composed by Traditional. Arranged by Edna J. Bloom. Folk,Sacred. Score and part. 4 pages. Bloom Musicnotes #3559271. Published by Bloom Musicnotes (A0.836150). This flute & piano arrangement is designed for the success of novice collaborators or busy musicians. Each performer spends time with both the melody and tasteful accompaniment parts. Although elegantly simple, the music presents three variations to focus the mind on the message of this beloved hymn. Performance time is approximately 1:35.For demonstration or play along, check out product SO.713833 ($2.99) MP3 Play-Along.

$4.50 4.15 € #Flute and Piano #Traditional #Amazing Grace #Bloom Musicnotes #SheetMusicPlus

Cameos Flute and Piano

Fl. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM617 Composed by Richa…(+)

Fl. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM617 Composed by Richard Lambert. A set of pieces for flute and piano. Score and part. 37 pages. Forton Music - Digital #FM617. Published by Forton Music - Digital (F2.FM617). ISBN 9790570485161.Abigail's Jig, op. 10 no. 2a, This lively piece for flute and piano was composed in 1980 to celebrate the birth of Abby, the composer's daughter. The piece attempts to capture the atmosphere of an Irish jig as played by a piper, with a harmonically straightforward piano part, which uses a mixture of 'vamping' and melodic imitation of the flute part. The introduction is intended to be humorous and rather musically misleading, openly parodying the 'cowboy' music of Aaron Copland. Modal harmony helps to create the mood of pseudo-folk music. Cantilena, Op. 11b, Cantilena tries to capture a popular flavour, borrowing freely from pop and jazz styles: primary and secondary chords are used in arpeggiated piano figures, as mainstream ballads might do; pedal notes are a feature, especially on the tonic note; and a 'bluesy' style emerges in the third main theme. A pseudo-rock style is twice used in the climax section, which acts as a song-like chorus. Cantilena is in the key of D major overall, but even the introduction uses 'wrong note' harmony (notably flattened sevenths) to produce ambiguous tonality. The piece demonstrates a range of tone colour for the flute across a wide melodic range. Written originally for alto sax in 1987, the piece was arranged for flute in 1994. Five Short Pieces, Op. 9a, This set of movements for flute and piano was originally arranged in 1985, and revised in 2008. The five pieces are elaborate transcriptions of To One, five songs to poems by Christina Rees, which convey the countless moods associated with a relationship.

$14.95 13.78 € #Flute and Piano #Richard Lambert #Cameos #Forton Music - Digital #SheetMusicPlus