Sheet music for English Horn

Power Rangers Dino Charge (Theme) (V2)

7 parts13 pages00:573 years ago3,329 views
Soprano Saxophone, Tenor Saxophone, Strings, English Horn, Guitar, Percussion
This is my second version of the Power Rangers Dino Charge theme.

EDIT: Added Tuba for a bit extra bass, and adjusted the dynamics.

Harry's Wondrous World - John Williams

22 parts32 pages05:012 years ago6,047 views
Flute(2), Oboe, English Horn, Clarinet(2), Bassoon(2), French Horn, Trumpet, Trombone, Tuba, Timpani, Percussion(2), Piano, Harp, Strings(5)
/!\ This is NOT an arrangement. This is the original full score by John Williams.
Full Orchestral Score. Music by John WILLIAMS
It's the concert version from the Suite for Orchestra inspired by the movie "Harry Potter and the Sorcerer's Stone".
3 Flutes (3rd to combine with Piccolo)
3 Oboes (3rd to combine with English Horn)
3 Bb Clarinets (3rd to combine with Eb Clarinet)
3 Bassoons (3rd to combine with Contra bassoon)
4 F Horns
3 Bb Trumpets
3 Trombones
1 Tuba
Timpani
Percussions 1 [ Triangle (small), suspended Cymbals (small & medium), Tambourine, Gran cassa, Piatti, Side drum ]
Percussions 2 [ Glockenspiel, Vibraphone ]
1 Piano
1 Harp
Strings
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Discussions

My band director is soon returning from maternity leave, and I was thinking about playing a piece with some friends to welcome her back. My group consists of 1 clarinet, 3 flutes, 1 trumpet, 1 tuba and a few others willing to play if a chance arises. (Euphonium, Percussionist and trombone) Help me!

The Definitive Star Wars Suite: Teaser #1 - Binary Sunset

34 parts2 pages00:372 years ago1,057 views
Piccolo, Flute, Oboe, English Horn, Clarinet(3), Bassoon, Alto Saxophone, Trumpet(2), French Horn(2), Trombone(2), Tuba, Violin(2), Viola, Cello, Contrabass, Timpani, Percussion(6), Piano, Harp, Voice(4)
A sneak peak of my next arranging project. Collaboration between me, That Dominican Tuba Guy, and a new arranger whom you've not met yet. Enjoy!

Farther&Wilder:SONGSTOMARCH/I asked the gods/Boy/suckit/HiddenSexualityofFlowers/Suasion/IGetWet/SugarVirgins/Phobis9whiteNESS/SalixCOPREC/Pistol(inmymouth)GaySaints(ahistoryofreligion/ElectricChair-howmanyblackmen/white-estsoulblueest eye/potable/whatif

64 parts59 pages20:313 years ago2,026 views
Piccolo, Flute(3), Recorder, Oboe, English Horn, Clarinet(3), Bassoon(2), Alto Saxophone, Tenor Saxophone, Baritone Saxophone, French Horn, Trumpet(2), Trombone(2), Tuba, Timpani, Percussion(20), Guitar, Piano, Harp(2), Strings(5), Contrabass
.I don't need inspiration -every time my foot touches soil-dirt(great book by William Bryant Logan!DIRT) I see he remarkable still,trembling,inert or swiftly seeming to change world .Earth is great its the people that sometimes don't measure up! Never ever forget that and depression will not stay.Just take a walk utside and see all the beautiful friendly living life that exudes JOY! Trumpet trills. tuba solo? MAGIENOIRE . tHIS IS GOING TO BE A LONG STUDY . trumpet flutters.tuba flutters! Orchestration is not th same as writing music it is melody + ! C O L O R !!!

The Planets Suite. Mvt I. Mars, the Bringer of War

31 parts21 pages07:038 months ago673 views
Piccolo, Flute, Oboe(2), English Horn, Clarinet(2), Bassoon(2), French Horn(3), Trumpet(2), Trombone(2), Tuba, Timpani(2), Percussion(4), Harp(2), Organ, Violin(2), Viola, Strings(2)
Mars recreated for Musescore. The full score can be found here:
http://ia800501.us.archive.org/2/items/Cantorion_sheet_music_collection_3/390dc94fc1b657e26f55b9797723ae29.pdf#track_/download/1720/390dc94fc1b657e26f55b9797723ae29/The%20Planets%201.%20Mars%20%28full%20score%29%20-%20Orchestra.pdf

Some elements are changed for the best possible playback, such as timpani dynamics, tenor tuba octaves, and articulations are added.

Rhapsody for Clarinet and Orchestra

29 parts43 pages07:203 years ago809 views
Flute, Oboe, English Horn, Clarinet(2), Bassoon, French Horn, Trumpet, Trombone, Tuba, Timpani, Percussion(6), Harp(2), Guitar, Violin, Strings(5), Viola, Cello, Contrabass
Woodwinds: Solo Clarinet in B-flat, 3 Flutes, 2 Oboes, 2 English Horns, 2 Clarinets in B-flat, 3 Bassoons
Brass: 4 Horns in F, 3 Trumpets in B-flat, 3 Trombones, Tuba
Percussion: Timpani, Snare Drum, Tambourine, Triangle, Cymbal, Tam-tam, Bass Drum
Strings: Violins 1 and 2, Violas, Violoncellos, Contrabasses, 2 Harps, 1 Guitar

The Planets Suite. Mvt IV. Jupiter, the Bringer of Jollity

31 parts30 pages07:328 months ago760 views
Piccolo, Flute, Oboe, English Horn, Clarinet(2), Bassoon(2), French Horn(4), Trumpet(2), Trombone(2), Tuba, Timpani(2), Percussion(5), Harp(2), Strings(5)
Jupiter recreated for Musescore. The full score can be found here:
http://ia800501.us.archive.org/2/items/Cantorion_sheet_music_collection_3/f0c967dfa06de9fef84faa2afd648fd5.pdf#track_/download/1721/f0c967dfa06de9fef84faa2afd648fd5/The%20Planets%204.%20Jupiter%20%28full%20score%29%20-%20Orchestra.pdf

Some elements are changed for the best possible playback, such as dynamics for balance, tenor tuba octaves, and articulations are added.

Song Of Sacrifice

4 parts4 pages01:042 years ago120 views
Harmonica, Tuba, Trumpet, English Horn
For Harmonica, trumpet in C, tuba and English Horn (Cor 'Anglais).

For use with credit to the scratch.mit.edu/ user @JAlli123

This is where he posts the scores.

Court and Jester

22 parts47 pages12:1710 months ago63 views
Piano, Piccolo, Flute, Oboe, English Horn, Clarinet(2), Bassoon(2), French Horn(2), Trumpet(2), Trombone(2), Tuba, Percussion(4), Timpani, Harp
Piano Concerto for standard orchestral winds (winds in three, 4 Fr. Horns, 3 Trumpets, 2 Trombones, Bass Trombone, Tuba, Percussion, Timpani, Harp but no Strings.

Princess Leia's Theme for Full Orchestra

30 parts13 pages04:299 months ago220 views
Flute(2), Piccolo, Oboe, English Horn, Clarinet(3), Bassoon(2), French Horn(4), Trumpet(2), Trombone(3), Tuba, Timpani, Percussion(2), Harp, Strings(5), Contrabass
Instrumentation:
1 Picc
1 Flute 1
1 Flute 2
1 Oboe
1 English Horn
1 Clarinet 1
1 Clarinet 2
1 Bass Clarinet
1 Bassoon 1
1 Bassoon 2
1 Horn 1
1 Horn 2
1 Horn 3
1 Horn 4
1 Trumpet 1
1 Trumpet 2
1 Trombone 1
1 Trombone 2
1 Bass Trombone
1 Tuba
1 Timpani
2 Percussion
1 Harp
10 Violin 1
10 Violin 2
10 Viola
4 Vioncello 1
4 Vioncello 2
6 Bass

PLAY NOW1 (for Sergiu Celibedache)

50 parts115 pages16:39a year ago125 views
Piccolo(2), Flute(3), Oboe(2), English Horn, Clarinet(4), Bassoon(3), French Horn, Trumpet(2), Trombone(2), Tuba, Timpani, Percussion(12), Piano(2), Harp(2), Guitar, Violin(2), Strings(7), Viola, Contrabass
Orchestral Music . The beginning has to be arranged carefully now it is just an experiment and unorchestrated realistically version for listening .I know what oboes, harps etc can and cannot do ! Wish we had sme more timpani and tam-tam and trombone and tuba effects here ! String avec la bois tapping wood sound would be good to o.I will have to use some percussion for this light beating sound !

I. Prologue - The Hornet's Nest (Read the second paragraph in description)

42 parts112 pages05:503 years ago718 views
Piccolo, Flute(2), Oboe, English Horn, Bassoon(2), Clarinet(6), Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet(2), French Horn(2), Trombone(2), Tuba(2), Contrabass, Timpani, Percussion(14), Harp, Piano
I. Prologue - The Hornet's Nest from James Barne's composition Seventh Symphony (Symphonic Requiem) Op. 135. You can download the sheet music from http://southernmusic.com/?p=1 if you want to study it. I take no credit for this score, I simply put it on MuseScore as best I could. Hope you enjoy it. I will maybe be uploading the other three movements once I finish them if someone asks me in the comments. Also, I didn't edit it and add rubatos, ritardandos, accelerandos, drum rolls, I just kept all the tempos and things like are originally, mostly because I was lazy.
This composition was written for the US. Army Band about the American Civil War.


One last thing, I would recommend downloading the score, opening it in MuseScore 2, and using the original TimGM6 soundfont from MuseScore 1. Also, make some edits to the mixer; make Bassoons a tad louder, make Bass/Contrabass Clarinets a tad louder, make all Saxophones softer, make Cornets/Trumpets louder, make the Trombones all the way louder, make the Euphonium, Tuba, and Double Bass a little louder as well, then make Timpani almost all the way loud, The regular Cymbal a little louder, Crash Cymbal, Anvil, Bass Drum, and Tam-tam all the way louder, make Bongos and Tom Toms a little louder,turn Glockenspiel Harp below half way, and turn Piano all the way loud. I know it's a lot but you don't get the full experience of this piece without these slight edits.

Cantina Band-Orchestra Version (Force Theme)

46 parts15 pages05:503 years ago8,675 views
Piccolo, Flute(2), Oboe(2), English Horn, Clarinet(3), Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bassoon(3), French Horn(4), Trumpet(4), Trombone(6), Tuba(2), Brass Ensemble, Timpani, Percussion(4), Bass, Harp, Piano, Strings(3), Cello, Contrabass
I orchestrated Cantina Band.
It's finished, but I guess I have to keep updating this......

(actually there are a lots of rests on many instruments, but I think my computer will explode if I fill that all...lol)

-Change logs-

+added English horn, bass clarinet, and euphonium. And I also added brass section solo before drum solo.

+added piano solo

+removed the arpegio parts in the french horns, (Because it's too fast) and I changed some parts of english horn and clarinet (also because that triplet arpegios are too fast for the english horns.)

+added more instruments at violin solo

+removed piano solo

+added alto trombone and solo double bass

+removed brass section solo and added double bass solo

+added trombone solo

+added more things on all the parts (because there where too much restes....)

+added more information on the cover page

+added more things on the Force Theme

+the Force Theme is now a duet with english horn and french horn, not a violin solo.

+added more things on the trombone section

+added more things on high strings

+added sousaphone

+added instrumentation guide picture

+improved some parts on the euphonium
(because it was too low)

+also some improvements on euphonium parts and tuba parts

+ improvements on double bass parts and solo double bass parts

+chaged the trombone solo part to euphnium solo
(because I think it's too high for the trombone, and I think the timbre of the euphonium is more effective for that melody......)

+added more things at woodwind section and brass section

+improvements for the double basses

+more extended techniques on the solo double bass
(because I think there isn't much differences between the solo double bass and the normal double basses...)

+minor update for all parts

For Orchestra (work for large orchestra)

21 parts39 pages07:062 years ago1,090 views
Flute(2), Oboe, English Horn, Clarinet(2), Bassoon, French Horn(2), Trumpet, Trombone(2), Tuba, Timpani, Percussion, Piano, Strings(4), Viola
For Orchestra - a work for large orchestra.

This was my first attempt at orchestral composition. I started the score when I was 15 and had most of the work sketched out by the time I finished high school at 18. Then I kept working at it in my early twenties until I finally put the manuscript with all my other old compositions in a drawer somewhere. Then a few months back I was like, what the hell, might as well write it out using Musescore and see what it sounds like!

The work and especially the orchestration is heavily influenced by the style of the early 20th century greats (Mahler and Stravinsky) because that's mostly what I was listening to at the time. I wasn't really well versed in popular culture at the time and my musical diet mostly consisted of philharmonic music. I could tell you that Tupac was black and Eminem white, but that's it.

Anyway, the heavy use of trombones and tuba, the high trumpet and clarinet parts and the pointillistic use of percussion, polytonality and unconventional dynamic markings are mostly indicative of my compositional style at the time, so it's an interesting window on my former compositional style.

Sinfonia Cattiva Prima (Symphony No. 1)

32 parts69 pages23:496 months ago165 views
Flute(3), Oboe(2), English Horn, Clarinet(3), Bassoon(3), French Horn(2), Trumpet(2), Trombone(3), Tuba(2), Timpani, Percussion(4), Harp, Violin(2), Viola, Cello, Contrabass
I have been working on this massive project for quite a while. In addition, I recently lost it, and wouldn't have found it if it weren't for the musescore forums. Anyway, since this is my first orchestration, I would appreciate any given critique.

Notes: I would have made the fifth movement longer, but the program kept crashing. All parts (except percussion) with split chords are meant to be played divisi.

What I think about the score: I don't like my first movement all that much. Please don't base your view of this piece on only that movement. I like my second and third movements quite a bit, because they worked out just how I wanted them to. The fourth didn't come out correctly, but the fifth movement is pretty good in my opinion.

Movements:
I. Intrada: 0:00
II. Marche Pesante: 1:54
III: Scherzo Rimbalzante: 10:12
IV: Bel e Dolce: 13:52
V: Allegro Finale: 20:06

Instrumentation:
Woodwinds:
2 Flutes
1 Alto Flute in G
2 Oboes
1 English horn in F
2 Bb Clarninets
1 Bb Bass Clarinet
2 Bassoons
1 Contrabassoon
Brass:
6 F Horns
4 Bb Trumpets
4 Tenor Trombones (IV doubling Contrabass Trombone)
1 Bass Trombone
1 Euphonium
1 Contrabass Tuba
Percussion:
4 Timpani
Vibraphone
Marimba
Tubular Bells
Bass Drum
Strings:
1 Harp
16 Violins I
12 Violins II
12 Violas
10 Cellos
8 Contrabasses

I don't really have much else to say.
"Night on Bald Mountain" (IMM 43) for Small Orchestra
Custom audio

"Night on Bald Mountain" (IMM 43) for Small Orchestra

16 parts76 pages09:572 months ago371 views
Piccolo, Flute, Oboe, Clarinet, English Horn, Bassoon, Trumpet(2), French Horn, Tuba, Timpani, Violin(2), Viola, Cello, Contrabass
Modest Petrovich Mussorgsky (1839 – 1881) was a Russian composer, one of the group known as "The Five". He was an innovator of Russian music in the romantic period. He strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music. Many of his works were inspired by Russian history, Russian folklore, and other national themes. Such works include the opera Boris Godunov, the orchestral tone poem Night on Bald Mountain and the piano suite Pictures at an Exhibition.

For many years Mussorgsky's works were mainly known in versions revised or completed by other composers. Many of his most important compositions have posthumously come into their own in their original forms, and some of the original scores are now also available. In a July 5, 1867 letter to Nikolay Rimsky-Korsakov, Modest Mussorgsky wrote "(I have) finished St. John's Night on Bald Mountain, a musical picture with the following program: (1) assembly of the witches, their chatter and gossip; (2) cortege of Satan; (3) unholy gratification of Satan; and (4) witches' sabbath." Mussorgsky proclaims "in form and character my composition is Russian and original. Its tone is hot and chaotic.... St. John's Night is something new and is bound to produce a satisfactory impression...."

The impression was not so satisfactory for Mily Balakirev, who rejected the work in 1869 from consideration for a Free School concert. Balakirev sent the manuscript back to Mussorgsky bearing handwritten marks such as the comment "Rubbish!" in the margins. Later, under the spell of Liszt's Totentanz, Mussorgsky considered refashioning the movement as a piano/orchestral work, but nothing came of this plan.

In May 1877, Mussorgsky drew up the scenario of his comic opera Sorochintsy Fair, proposing an extensive revision of the St. John's Night music as an Intermezzo opening the third act. Mussorgsky completed this part of the opera in 1880, retaining music from (1) and (3) of the original work, and adding new material. Identified as "Dream of the Young Peasant Lad," this also had a new program: as a boy dreams on a hill, he is threatened by inhuman voices and finds himself mocked in the realm of shadows. The voices warn of the Devil and the "Black God" Chernobog; as the shadows fade, both appear. Chernobog is glorified, a Black Mass is sung, and a Witches' Sabbath breaks out. As a church bell intones, Chernobog disappears and the demons writhe in agony. A church choir sings, the demons fade away, awakening the boy. Mussorgsky was never to complete Sorochintsy Fair.

In 1867 letter quoted above, Mussorgsky wrote Rimsky-Korsakov "I should like us to examine the orchestration together (...) we might clear up many things." Rimsky-Korsakov fulfilled his end of the bargain in 1886, five years after Mussorgsky's death, in producing Night on Bald Mountain (also "Night on the Bare Mountain"). This was the "Lad's Dream" music, minus its choral parts and with its abrupt, dramatic effectual "stings" removed. The first half of the second section was removed, and Rimsky-Korsakov dropped most of the major-key material save a brief fanfare figure. The whole work was subjected to a streamlining of orchestration and meter, and divided into symmetrical sections. Rimsky-Korsakov has often been accused of "composing" the "Matins Bell" section that concludes Bald Mountain, but in truth the music is all Mussorgsky's save the final flute trio at the very end. The Rimsky-Korsakov edition was an immediate worldwide success from the day it was launched and helped to establish Mussorgsky's name. It remains the most popular version of Mussorgsky's famous piece, although the original versions are available in modern editions and are revived to acclaim as well. Some conductors, such as Claudio Abbado and Esa-Pekka Salonen, have made personal specialties of the 1867 version.

Source: AllMusic (https://www.allmusic.com/composition/night-on-bald-mountain-noch-na-l%C3%AFsoy-gore-symphonic-poem-edited-by-rimsky-korsakov-mc0002369147 ).

Although originally created for full orchestra, I created this Interpretation of the "Night on Bald Mountain" A symphonic poem (IMM 43) for Small Orchestra (Piccolo, Flute, Oboe, Bb Clarinet, English Horn, Bassoon, Bb Trumpet, Flugelhorn, French Horn, Tuba, Timpani, Violins, Violas, Cellos & Bass).

Chorale: "O Gott, du frommer Gott" (BWV 24 No 6) for Winds & Strings

11 parts6 pages01:403 years ago305 views
Trumpet, Flute, Oboe, Clarinet, English Horn, French Horn, Tuba, Violin(2), Viola, Cello
Ein ungefärbt Gemüte (An open mind) (literally: An undyed mind), BWV 24,[a] is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the fourth Sunday after Trinity and first performed it on 20 June 1723. It is the third new cantata of his first annual cycle. The title has been translated more freely, for example as "An unstained mind", "An unblemished conscience", "An undisguised intention", and "An unsophisticated mind".

Bach composed the cantata for the fourth Sunday after Trinity and first performed it on 20 June 1723, three weeks after he took up the position as Thomaskantor in Leipzig with Die Elenden sollen essen, BWV 75. Bach had begun to compose one cantata for almost every Sunday and holiday of the liturgical year, a project described by Christoph Wolff as "an artistic undertaking on the largest scale".

It seems likely that Bach performed in the same service also the earlier cantata Barmherziges Herze der ewigen Liebe, BWV 185, composed for the same occasion in Weimar in 1715. He had presented cantatas in two parts on the preceding three Sundays, the new works Die Elenden sollen essen, and Die Himmel erzählen die Ehre Gottes, BWV 76, and the earlier Ich hatte viel Bekümmernis, BWV 21. On the fourth Sunday he likely performed one cantata before and the other after the sermon. According to Christoph Wolff, he probably performed the new work first.

In his composition, Bach stresses the weight of the central biblical quotation by giving it to the choir, and by scoring the framing recitatives and arias with reduced accompaniment. The obbligato part in the first aria is played by the violins and viola in unison and resembles the vocal part. According to John Eliot Gardiner, Bach thus evokes an "unstained mind". Julian Mincham notes the "sombre and shaded tone quality" of the unison strings. The following recitative, termed an "exemplary mini-sermon in its own right", is secco and ends in an arioso. Here as in the first work for the same occasion, BWV 185, Bach shows the mirror effect of the words, "Mach aus dir selbst ein solches Bild, wie du den Nächsten haben willt!" (Make yourself into such an image, as you would have your neighbour be!) by imitation of voice and continuo. This phrase is rendered three times.

The central choral movement, "a powerful chorus which forms the core of the cantata", is in two sections: the complete text is once rendered in a free form, then again as a fugue, comparable to the concept prelude and fugue. Two oboes double the strings, a clarino plays an independent part. The prelude is in three symmetric sections. The fugue, a double fugue marked "vivace allegro", begins with the first vocal entrance only accompanied by the continuo, the first vocal entries are sung by the concertisten, the choir joins later. The music reaches a climax when the clarino plays the theme as a fifth part to the four vocal parts. The movement ends in free sequences. Mincham describes the "ceaseless activity through constant musical movement" of the music, the "fragmented rhythm" of the countersubject and the "breathless urgency" of the coda.

The following recitative is similar to the first in structure, but accompanied by the strings adding emphasis, mostly on strong beats. The final arioso, without the strings, stresses the prayer "Der liebe Gott behüte mich dafür!" (May dear God spare me from it!). The last aria is accompanied by two oboi d'amore; they play a long "doleful" introduction that is repeated as a postlude. The voice picks up their beginning motif. The tenor voice sings an unusual coloratura line when the text ends on "Macht uns Gott und Engeln gleich" (makes us like God and the angels), possibly representing the multitude of the Heavenly host.

The eight lines of the closing chorale in homophonic four-part vocal setting are richly framed by orchestral interludes and accompanied by the instruments. Bach found the style of chorale treatment in works by his predecessor in Leipzig, Johann Kuhnau. The last prayer asks for "ein unverletzte Seel" (an unsullied soul) "und rein Gewissen" (and a clear conscience).

The cantata in six movements is scored for three vocal soloists (alto, tenor and bass), a four-part choir, clarino, two oboes, two oboes d'amore, two violins, viola and basso continuo.

Source: Wikipedia (https://en.wikipedia.org/wiki/Ein_ungef%C3%A4rbt_Gem%C3%BCte,_BWV_24).

I created this arrangement of the closing Chorale: "O Gott, du frommer Gott" (O God, You righteous God) for Winds (Bb Trumpet, Flute, Oboe, Bb Clarinet, English Horn, French Horn & Tuba) & Strings (Violin, Viola & Cello).

Die Walküre- Leb' wohl!

42 parts65 pages12:162 years ago1,572 views
Piccolo(2), Flute(2), Oboe(2), English Horn, Clarinet(4), Bassoon(2), French Horn(6), Trumpet(3), Trombone(4), Tuba, Percussion(2), Harp(2), Timpani, Strings(9), Cello
Also known as Wotan's Farewell and Magic Fire Music, this is the finale of Act III and the conclusion of the opera.
Errata:
All horns changed from E to F, all E trumpets changed to D, bass trumpet changed to bass clef, no other changes to instruments (clarinets left in A except for one part for D clarinet).
Other than the bass trumpet, no unusual instruments (such as Wagner tuba) were called for in the source document.
Some notes are outside the range of contemporary instruments. Except for some ludicrously low horn notes (that might be typos in the source document) that have been moved up an octave, all such have been left as is.
Corrected typos & poor engraving practice in the source document, such as using both hairpins & dim./cresc. markings.
Wotans voice is sounded by horn & trombone.
Recordings by George London, Thomas Stewart, James Morris, and Bryn Terfel singing the role of Wotan were studied and revealed a wide range of tempos and performance practice deviations from the written score. A middle-of-the-road approach was taken in this endeavor.
The piece opens with Brünnhilde’s last words, which are voiced in D Trumpet III.
Stage directions are included near Wotan’s staff, or at the top of the score near the very end, and are repeated here (numbers are the measure number in this score):
• Previously- As punishment for disobeying Wotan (the chief of the gods), his daughter the Valkyrie Brünnhilde (yes, that Brünnhilde) is to be stripped of her divinity, and as a mortal woman lie asleep on the ground where she will belong to the first man who comes across her. She pleads for a lesser punishment, and Wotan consents that as she sleeps she will be surrounded with a magic fire (courtesy of Loge) so that only a brave man, a true hero who is not afraid to cross the flames, shall possess her.
• Brünnhilde’s last words: At your command let fire blaze up, let it burn around the rock, let its tongues flicker and its teeth devour any coward who dares to approach the fearsome rock!
• 4- Wotan, overwhelmed with emotion (he truly loves his daughter, but her crime must be punished) raises her from where she lays kneeling, and looks in her eyes with his one eye.
• 73- She lays her head against his breast, he holds her in a long embrace.
• 82- Her head falls back and, understanding, solemnly looks him in the eye.
• 125- He holds her head in both hands.
• 132- He kisses her long on both eyes.
• 134- She falls back asleep, with eyes closed, in his arms. He gently carries her to a low mossy rock, under the branches of a fragrant fir tree.
• 145- He considers, and closes her helmet. His eye dwells on her sleeping, and he covers her with her shield.
• 155- Slowly he turns away; with a painful look he turns around again.
• 161- He solemnly proceeds to center stage, and sets his spear against a large stone.
• 182-- He strikes his spear three times against the stone:
• 183- First
• 184- Second
• 185- Third
• 185-- A flame comes from the stone, swelling brighter.
• 189- The bright flickering fire breaks out of the rock.
• 199- The wild flickering fire surrounds Wotan. He points with his spear, parting the sea of fire.
• 201- The fire flows beyond the rock, into the background.
• 203- The fire continues blazing into the mountainous landscape.
• 208-215- Wotan’s final words: “Who fears the tip of my spear, shall never pass through the fire”.
• 215- He extends the spear, to complete the spell.
• 223- He looks painfully back to Brünnhilde.
• 229- He turns slowly to leave.
• 236- He turns again and looks back.
• 240- He disappears through the fire.
• 244- The curtain falls.
November 3 2016- Corrected missing slur on melisma at measure 214.
March 5 2017- Corrected typo in measure 45; "liebe" replaces "liebte".
Personality Disorder Suite
Custom audio

Personality Disorder Suite

59 parts12 pages18:2316 days ago74 views
Piano, Percussion(10), Flute(2), Oboe(3), Guitar(5), Clarinet(2), Soprano Saxophone(3), Alto Saxophone(2), Tenor Saxophone, Baritone Saxophone(2), Bass(3), Strings(5), Voice(5), Trombone, Brass Ensemble, Tuba(2), Timpani, Synthesizer(4), Bassoon, English Horn, Other Woodwinds(2), French Horn, Violin
Personality Disorder Suite

This Suite is consisted of 7 movements, arranged in the personality disorders respective clusters. For times sake, I didn’t do the following: Histrionic, Borderline, and Dependent, the first to being in Cluster B and dependent being in Cluster C. This piece is supposed to give you a sense of understanding towards these disorders in that it attempts to display what goes on in the mind of someone with the disorder.

Prelude
The prelude, or introduction sets the key and scale that will be used throughout the piece

CLUSTER A

Paranoid
This movement is in A Ukrainian Dorian because of its harmonically versatile ability. The accompaniment is consistent throughout the piece, being and A half-diminished arpeggio in the tenor and baritone voices. The bass voices drone either an A or G, acting as the base of the paranoia. The melody is simply the A Ukrainian Dorian scale descending. Each time the melody is repeated, it is added to a voice an octave higher, representing the increasing thoughts running through someone’s mind. Along with that, every time the melody is repeated, a new harmonic line is added. The driving force of this movement is the bass drum. The bass drum plays 2 sixteenth notes on every down beat, acting as a heart beat. The tempo and dynamics are always increasing, to represent the racing thoughts of a paranoid person. The movement ends with a loud and abrupt chord, while the bass voices play a descending line, ending on D# to create dissonance from the base note “A”. This represents the paranoid person’s breaking point from the intrusive thoughts.

Schizoid
This movement starts directly after Paranoid. It keeps the same accompaniment as the movement before, (but now only in the piano), in 3/4 and has a tritone (A and D#) played in the bass as opposed to just an “A”. The melody played by the “Schizoid”, which is represented by the F Tuba, is the same as the melody in Paranoid. What makes this different is what comes after the melody. The piano and choir have a melody in “A Lydian”, which is a much brighter key. This contrast represents the view of the of the schizoid vs. the “normal” world. Every time the tuba plays the melody, it starts on a lower note that before, continuing until it plays a D# as the first note. The “normal world” voicing has a new harmony added to it every time it is repeated, to reaffirm the “normality”. The movement ends with the tuba playing a descending line in half notes, to represent the Schizoid’s slip into their own world, with no concern for the “normal world”.

Schizotypal
This movement is the most unique of the bunch. The melody is just the scale, same as the other movements in this cluster, but the rhythm and general feel is totally different. The scale is played by the Bass, Soprano and Piccolo Oboe, who just play the scale up and down, increasing in speed as it goes on. The piece is in 7/4, which is a very uncommon time signature. The harp and celesta play a 16th note flourish in the soprano register, to give an “odd and mystical” feeling. The oboes eventually stop and a new melody is taken over by the strings. The piece changes between 7/4, 5/4, 3/4 and 11/8, to give the same unstable and “odd” feeling. This is to represent the Schizotypal’s seemingly odd nature.The piece ends very abruptly, with the horns holding a chord, leading to the next movement.

CLUSTER B

Antisocial
This movement is much more simple than the previous melodies. It is the same chord played by the strings (except cello), harp and bassoons (except bassoon 1). The cello and bassoon 1 play a simple melody, which is then echoed by the clarinet. This idea repeats throughout the piece. There are hidden and not so hidden dissonances which are to represent the Sociopath’s attempt at superficial charm. After the first large cycle of the piece, a brass band which is placed off-stage can be heard playing the theme from the next movement “Narcissism”. This represents the lack of care from the sociopath, and their cynical behavior.

Narcissism
This melody is the same as what the brass band plays in “ASPD”, just a descending “A Ukrainian Dorian” scale in 6/4. This movement is written in 6/4, but feels like it should be in 9/4. Most phrases end in 9/4. This hemiola gives the feeling of stubbornness that is eventually dismissed. The melody is only ever played by brass instruments to give the bombastic, cynical feeling that comes from a narcissist.

CLUSTER C

Obsessive Compulsive
This piece is a simple fugue between the violin, viola and bass. This piece is just made up of 3 sections of 3 sections of 3 (not a typo).
A melody played in 3 measures of 5/4, followed by 3 measures of 3/4 that repeat the same motif 3 times This same idea is repeated 3 times, and makes up the first section.

This whole idea is repeated 3 times, but is disrupted by a wrong note that most people would not notice. When this happens, a loud dissonant chord is played, followed by the “Knock of death” (3 loud repeated notes).

The second section is all in 3/4 following the same format as the first section

The piece ends with a confusion of time, it is written in 3/4 but feels like a mixed meter
This piece has little depth the represent the baselessness of the OCPD’s repetitive actions. I chose to do things in 3’s and 5’s because I have a cousin who does things in this manner.

Avoidant
This movement is the most distinct movement, as it doesn’t really fit the flow of the whole suite. It is a piano solo, playing a simple and empty sounding nocturne. This emptiness is to represent and Avoidant person’s feeling of inadequacy and want for refuge. This movement marks the end of the suite. There is also a version of this where it is played by a flute ensemble.


What’s Missing
Due to technical problems, I could not finish “Borderline”, which was a just a combination of a few of the other movements played by small instrument ensembles, such as saxophones, trumpets, mallets and electronic & strings.This was to represent a borderline person’s lack of identity and self care.

Histrionic was also not finished. This was a combination of a saxophone septet and string septet. I used the saxophones to represent histrionic because saxophones don’t generally belong in the orchestra, and having saxophones against strings was a classic case of what does and doesn’t fit. The soprano saxophone was “attempting” to be the most grandiose, because it needed to be the center of attention, no matter the cost.

Dependent was similar to Avoidant, in that it doesn’t follow the structure of the suite and was a nocturne. Instead of a solo instrument, it starts with specialty instruments attempting to solo, but failing because they needed support. This movement uses a theremin, glass harmonica, 2 musical saws, celesta and harpsichord.