Romeo and Juliet (Piano Solo)

Romeo and Juliet (Piano Solo)

1 part2 pages02:085 years ago18,572 views
This is the piano solo version of the theme I composed as incidental music for a theatrical performance of Romeo and Juliet my senior year at Millikin University. The melody was inspired by the words "Romeo, oh, Romeo! Wherefore art thou "Romeo?" On this one, I intentionally used the major 6th opening interval from a number of John Williams' love themes, and used chord progressions inspired by Stephen Foster.

Romeo and Juliet (Flute and Piano)

2 parts3 pages02:095 years ago11,050 views
This arrangement is midway between the original instrumentation for the incidental music I composed for the play and the piano solo sheet music. I really feel that this melody is beautifully suited to flute, for which it was intended in the original performances. Either piano or guitar would work nicely for the accompaniment, so here it is with piano.


1 part2 pages02:086 years ago912 views
One of my earlier pieces, displaying the fascination I had with the major 7th at that time. Note: I have large hands, and can play the 10ths and 11ths as written. For players with 'normal' hands, the left-hand chords with the 10ths would be fine with just octaves; the notes in the four descending chords in measures 27 and 28 could be played as alternating quarter notes, rather than played together. (This is the straight-up MuseScore score, without any performance elements added.)


1 part1 page00:326 years ago943 views
A piece composed as an interlude for a wedding. The melodies and harmonies are mostly built using the letters from a variety of words, including the couple's names. This sheet music now has the tempo corrected and additional performance notation.
Love Too Soon, Love Too Late (Piano Solo)

Love Too Soon, Love Too Late (Piano Solo)

1 part1 page01:285 years ago1,098 views
This piece was one of the first pieces I composed after college, and is highly influenced by Danny Elfman. This piece was composed for my friend Steve McQuiston. (Be sure to listen to the arrangement in the video score to the right!)

The Incubus, Variation No. 2: "Go to the Light" (Piano Solo)

1 part2 pages01:115 years ago531 views
I realized long after composing the main melody in this piece that it was very much the same line as I had used in another (completely different) piece (alternately titled "The Incubus" or my "Etude No. 1"). My inclination is to turn them into a long "rhapsody" type of piece, eventually. For now, I will just consider them variations. (And yes, for those of you who heard this piece as I was developing it, the chord progression of the middle section of the piece WAS, in fact, inspired by "Lolly, Lolly, Lolly.")

Love Too Soon, Love Too Late (Ensemble Arrangement)

11 parts8 pages01:345 years ago596 views
Here's an ensemble arrangement of "Love Too Soon, Love Too Late" taken from the original sequence posted on the video score. (I'll video score this arrangement to that video as well, though it's not an exact transcription; this arrangement is all acoustic instruments, and sticks to their legitimate ranges.)

Still You and Me

2 parts4 pages03:025 years ago807 views
This piece was conceived by Cristopher Blake as a gift and recognition of his long friendship with the lovely and lively Kristie Bryant. Cristopher created the lyrics and submitted them to me to create the melody. I fairly quickly came up with the main melody (verse and chorus), but was stumped for what to do with the bridge. Finally, sitting down with Cristopher, we talked about how I WOULD have composed the bridge had I composed it ten years earlier—flat VI, flat VII, I. So, that's what we came up with, on the spot, for the bridge of the piece (which I think turns out to be one of the loveliest parts...) This simple arrangement of this song owes a little bit to Gerry Busch, for the idea of the style of the accompaniment.

When Will She Dance With Me? (orchestral cue)

18 parts4 pages00:505 years ago993 views
A bit of practicing for orchestration, this. "Talk Like A Pirate Day" reminded me that I'd written a pirate piece, but I've been unable to find it or remember it.

However, while sitting down trying to see if I could just recall the melodies from my lost pirate piece, I found myself more and more in the mood for a pirate story, and imagining what one might be. As I imagined, I started to play the melody that's in this piece. It occurred to me that this is a song, sung by sailors, and could serve as the introduction to the story. In this case, it would serve like music to a movie teaser trailer.

What is the story? Briefly, it's about the events that led to a young woman living alone on an island far out to sea. Maybe someday the whole story will be told. In the mean time, this piece is a taste of how parts of the story might sound.

When Will She Dance With Me? (winds cue)

13 parts3 pages00:525 years ago419 views
Same theme, winds only arrangement, with minor adjustments to the arrangement and a couple of flourishes on the piccolo.

(I'm not 100% sold on the open F chords in the last section; I wonder if the feeling of incompleteness that I was going for in the sound is just coming through as a feeling of incompleteness in the composition or arrangement...)


1 part2 pages01:096 years ago1,766 views
An interlude composed by request for a Jewish wedding; elements influenced by "Sunrise, Sunset" from Fiddler on the Roof.

Jacob and Jackson - Viola and Piano (work in progress 1)

2 parts2 pages00:455 years ago324 views
So this is the viola piece I've been working on, with a B section added to the melody. I've used the "letters into notes" trick with the names of our friends Jacob and Jackson Howa-Morrow. With their names both starting with J-A-C, I decided to try their names as a single line with harmonies played on two strings of the viola; I have yet to hear how it sounds played, but I've been assured it's doable.

The piece was inspired by a recent "jam session" with Jacob ("Jake"), who plays viola. With a willing guinea pi—er, violist, I figured I should take advantage of the opportunity to learn how to compose better for stringed instruments.

I'm sure there will be many changes as I continue composing and building out the piece, and figured it would be fun to document the process again.

Dorian Gray - Beautiful Boy Theme

5 parts1 page00:245 years ago747 views
This is one of the themes I have composed for a larger work (most likely a ballet) based on Oscar Wilde's The Picture of Dorian Gray. This would be the theme for Basil's infatuation with Dorian's beauty (not Dorian's own theme).

This string arrangement gets the theme across nicely, I think.

Sedigh No. 2 - In Motion (for Sepehr Keyhani, draft 3 - Original Composition)

1 part4 pages04:184 years ago398 views
Finished piece at

In a fairly "movie score end credits" A-B-B-A arrangement, I finally have this piece to where it feels nearly complete to me. (This piece is VERY dependent on the pianist's performance, particularly in the B section due to the nearly minimalist accompaniment; midi performance will sound very flat and monotonous.)

I know I'll be adjusting the accompaniment and adding flourishes (the starkness of the arrangement of the B theme is begging for ornamentation), but at least I now feel that this piece has both arc and growth. I'm also very much enjoying how much I managed to get the S-E-P-E-H-R theme (musically E-E-B-E-A-D) woven into various parts of the piece. I'll be premiering it on September 21st 2014, and hopefully a video score will come from that performance.
Original Composition: The Painting

Original Composition: The Painting

1 part2 pages02:043 years ago1,101 views
A quick "turn a word into a composition" piece. The seed word used here is "painting"--B-A-B-G-F-B-G-G

Note: made minor changes to notes that I had incorrectly put in while transcribing. Just measures one and two, and all measures like 7. Also added one measure at the end to round the piece out.

The piece is dedicated to Gerry Busch, from whom I gathered the idea of the recurring pattern bassline and the overall structure.

The Seventeen-and-a-Halfth Variation, 1st Draft

1 part3 pages01:193 years ago305 views
Subtitled "(Something like what might have been left crumpled in an old Russian dustbin…)" this variation on a variation is a self-imposed exercise to prove that the same notes, in the same order, can still become a new melody. I may come back and create a bridge to separate the two repeats of the A1-A2 melodies, and I may fill in the chords more on the second repeat, but I was excited to share. I have no illusions about the brilliance of the 18th Variation and how this melody pales by comparison, which is why I titled it — and subtitled it — as if it were a throwaway, half-formed idea, prior to the inspiration for a better final masterpiece. On the other hand, the piece is beautiful and worthwhile in its own way.

Tango Variation and Clarinet Variation (In Progress)

3 parts3 pages013 years ago835 views
Violin, Clarinet, Piano
Finished work at:

OK, so here's the "clarinet" variation, updated (see my previous upload for comparison) and also (if I do say so myself) a delightful Tango variation to lead into it. It clocks in at about 60 seconds, so I have the whole 4-6 minute composition about 50% arranged now (it has to be completed by Sunday night). Cheers, and please let me know what you think!

Theme and Variations on the Word "Rapido"

3 parts13 pages05:193 years ago2,045 views
Violin, Clarinet, Piano
Here's the entire finished contest piece as submitted to the Rapido! Composition Contest. (I didn't make semi-finalist, darn.) Please let me know what you think!

I count the theme & variations as follows:
1) Main theme (melody repeats twice)
2) "Silly" theme -- I did this to reference just keeping the same melody almost exactly and adding ornamentation or slightly varied rhythm (which I think of as a little "silly" compared to a strong 'variation' of the theme—and to reinforce the memory of the main theme, since it varies SO much in the...
3) Ragtime theme (this is equivalent to 2 "A" sections of a ragtime; I had the piano do one repeat of this section solo to give the piano player more solo/melody time, and because of Ragtime's roots in the piano)
4) Tango (LOVE IT, drops the 2nd D an octave down, and is in a minor mode)
5) "Chase" (almost feels more Klezmer than Latin, but it is its own thing; it continues the minor mode and provides a fun, upbeat moment)
6) Inverted variation ('slow' section, major with flat 6 plus modal changes)
7) Final variation (starting D one octave down)

Tiffany Aching Theme - Full Orchestra - Work In Progress

26 parts4 pages01:023 years ago448 views
Flute(2), Oboe(2), Clarinet(2), Bassoon(2), French Horn(2), Trumpet(2), Trombone(2), Tuba, Percussion(4), Timpani, Harp, Violin(2), Viola, Cello, Contrabass
HARPISTS: please let me know about the harp part on this work so far. Playable? Easy? Hard?

After enjoying Terry Pratchett's last novel, The Shepherd's Crown, I was very moved and inspired, and felt that it would be a good time to get to work on a composition about the main character, the young witch, Tiffany Aching. It had to sound "countryside" as she lives on the chalk, it had to sound at least a little bit English and/or Scottish (read or listen to the book and you'll understand that connection) and it needed to be both simple and complex. I am happy so far with that. Tips on orchestration much appreciated.
Sky in Motion

Sky in Motion

1 part6 pages04:104 years ago2,579 views
Ok, so this is my "final" version of this piece composed for and dedicated to Sepehr Keyhani ( I added "Sky" to the title because someone told me that "Sepehr" means "Sky", so it seemed appropriate. (If the translation is incorrect, that's just tough: this is the name of the piece now!) The feel is very movie score, and once I knew that the piece was going to have that feel, I ran with it--even "finishing" the composition by adding a solo intro line that (in a movie) would be played over the last two clever spoken lines from the two protagonists. Note: The "S-E-P-E-H-R" motif appears 42 times in the piece, not including partial or modified appearances.
I Love You - Original Piano Solo

I Love You - Original Piano Solo

1 part2 pages01:455 years ago3,208 views
A piece of music I composed in high school in response to my very first crush.

Note Jan. 20, 2014: There is an alto saxophone duet arrangement by Josh Thompson available.

Chemistry - Original Song by Arthur Breur

2 parts8 pages03:492 years ago2,849 views
Flute, Piano
This piece was commissioned by Annette Saarinen for her granddaughter Aurora, who happens to be studying chemistry (among other things) so she can pursue her goals of working on environmental restoration.

Composing a song that is a gift for a friend's granddaughter is fraught with a number of perils, particularly when one of the inspirations is that the recipient of the song likes Adele tunes. Adele's songs are mostly romantic songs about lost or unrequited love, so the lyrics couldn't really come across as being FROM the grandmother.

Knowing that Aurora is studying chemistry, however, gave me a clue as to how I could make the piece work nicely: make it sound like a love song about the chemistry between two people, when in fact, the lyrics are talking about how our use of chemistry is both responsible for the state of our environment and the means we must use to fix it.

I did use my usual trick of starting with words or names, and have composed both "Aurora" and "Chemistry" into the notes of the piece, the former in the accompaniment, and the latter as the foundation for the verse melody.

This is just a piano and voice arrangement, and I fully plan to create an instrumental recording as well.


How can we fix this mess that we've created?
Though we've waited far too long, it's not too late.

We can't undo the damage done, but we can change it,
We'll rearrange it every hour and every day.

It's been our chemistry that's leading us astray,
Just like it's chemistry that gives us hope to stay.
And while our hearts keep reaching on
We must do everything we can today
To use our chemistry to save our chemistry.

I am here, my hand stretched out, if you will take it.
We can make it through the madness and the pain.

Looking up I see a light to inspire
Like a fire across the sky to lead the way.

It's been our chemistry that's leading us astray,
Just like it's chemistry that gives us hope to stay.
And while our hearts keep reaching on
We must do everything we can today
To use our chemistry to save our chemistry.


Copyright 2016 Arthur Breur. All Rights Reserved.

Bernard and Rose Mary Mohr

2 parts5 pages03:58a year ago166 views
Cello, Piano
A commission for Celia Volk, this piece is a gift to her father and mother. It includes both of their names composed into the work, as well as Celia's in the B section or bridge.

Richard & Sue Volk

1 part1 page02:55a year ago228 views
A composition for my Patreon patron, Celia Volk, for a Christmas gift for her inlaws. It somehow manages to be jazzy, classical, and "movie score"-ish, all in one fell swoop.