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String with one other instrument
(works are in alphabetical order, durations are in parenthesis):        

ALPINE SPRING (2008) for flute & harp by Howard J. Buss was composed for flutist Elena Cecconi. Its Italian subtitle, Riflessi sul lago alpino, translates as “Alpine Lake Reflections” and is suggestive of the glorious awakening of spring in the region south of the Dolomite Mountains in northern Italy. As one listens to this music it is easy to imagine the glistening reflections of the dramatic mountain peaks and vibrant green spring foliage in the lake. The work is divided into 2 main parts. The first is introspective and at times mysterious. The subdued quality of the music coupled with the beautiful melodic lines suggests the alluring enchantment of dawn at the lake. The festive second part is in an ABA-Coda format and mixes Buss’ soaring lyricism with crisp, energetic rhythms and colorful harmonies. The B section is developmental and at one point the flutist is asked to flutter tongue, suggesting the presence of birds. Alpine Spring received its world premier in 2008 in Piacenza, Italy by flutist Elena Cecconi and harpist Paola Devoti. (11'30") Grade V. This work is recorded on the CD Flauto e arpa by Elena Cecconi and Paola Devoti on the Bottega Discantica (Italy) label BDI 187.
CD available from Brixton Publications CD-113.

Score samples: Excerpt 1.pdf; Excerpt 2.pdf; Excerpt 3.pdf

Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4 (ending).mp3

ALPINE SPRING for flute & harp (sheet music), B414 $20.00

CANTILENA(2005) for flute and viola by David Alpher. From the composer: “As its name suggests, Cantilena is all about singing, lyric lines. It’s a songlike dialogue, with contrasting tempi. While melodies are hardly foreign to either instrument, the viola-in the chamber literature and especially the symphonic literature-has had a surfeit of accompanimental, supporting figures. This unthrilling role is kept to a bare minimum in Cantilena. I tried to create a genuine duo, a give-and-take aural relationship between two beautiful instruments that rarely have the whole stage to themselves.” Cantilena was commissioned by flutist Sally Schlichting and was premiered by her and violist Sam Williams in November 2005. (5’30”) Grade IV-V.
Sound samples: Excerpt_1.mp3; Excerpt_2.mp3

CANTILENA, flute and viola, B112, $12.00

Divergences coverDIVERGENCES for clarinet and viola by Howard J. Buss was written for clarinetist Allison Storochuk and violist Kirsten Weingartner Weiss. The 3 movements explore a wide array of moods and sonic atmospheres ranging from the mystical, to the contemplative, to soaring, vibrant passages: Recollections of Shared Times, Disparate Views, and Celebrations. The composer states, “The titles relate to a phenomenon that has long fascinated me: How is it that people such as siblings, who grow up in the same environment (home, family, teachers, and shared experiences), can turn out in later years to be very different from one another with their religious and political beliefs, preferences for food, travel, music, etc.  This is addressed generally in the duo, which is designed to be musically solid without any extra-musical, programmatic connotations. However, I think the titles and general character of the music will connect with many listeners and may make them think about the evolution of their own personal relationships.” Score and parts are included.
(12’) Grade V.
YouTube video - Score sample: Excerpts.pdf

Sound samples: Movement 1.mp3; Movement 2.mp3; Movement 3.mp3

DIVERGENCES for clarinet and viola (score & parts) B489 $28.50

fables from Aesop for bass clarinet and violin coverFABLES FROM AESOP (2001) by Howard J. Buss in 5 entertaining movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful, engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. “Buss employs a variety of meters, tonalities, and an equality of parts to set this duet apart from other instrumental duos of mixed descent. This is a captivating achievement of great variety and craftsmanship.” - reviewed by Joel Elias, California State University, Sacramento in the July 2005 International Trombone Association Journal, Vol. 33, No. 3 (13’) Grade V. YouTube video
Fables from Aesop for violin and cello score samples:
Movement 1.pdf; Movement 2.pdf; Movement 3.pdf Movement 4.pdf; Movement 5.pdf
Fables from Aesop for trombone or bassoon and violin score samples:
Movement 1.pdf; Movement 2.pdf; Movement 3.pdf; Movement 4.pdf; Movement 5.pdf -  
Fables from Aesop for horn and violin score samples (transposed score):
Movement 1.pdf; Movement 2.pdf; Movement 3.pdf; Movement 4.pdf; Movement 5.pdf
Fables from Aesop for violin and bass clarinet score samples (transposed score):
Movement1.pdf; Movement 2.pdf; Movement 3.pdf; Movement 4.pdf; Movement 5.pdf

Fables from Aesop for violin and alto sax score samples: Excerpts.pdf

FABLES FROM AESOP version for violin & horn, B371 $16.00
FABLES FROM AESOP version for violin & trombone (or bassoon) B372 $16.00 
FABLES FROM AESOP version for violin & cello B373 $16.00
FABLES FROM AESOP version for violin & bass clarinet B371C $16.00
FABLES FROM AESOP version for violin & alto sax, B371S $20.00

INNER QUEST (2011) for flute & harp by Howard J. Buss was written for the Italian duo of Elena Cecconi, flute, and Paola Devoti, harp. This intriguing composition captures a wide range of emotions. The character and musical development is analogous to the train of thoughts and feelings one may experience during a spell of internal dialog.
(7')  Grade V.  
Sound samples: Excerpt 1 (the opening).mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
INNER QUEST for flute & harp.  B422 $20.00 

LULLABE FOR BEAY FOR FLUTE & GUITAR COVERLULLABYE FOR BEAR for flute & guitar by Lee Heritage was composed at the request of Samuel Adler and was first performed as a postlude to a lecture he presented at the Brevard Music Center in the summer of 1977. The performers at the premiere performance were flutist Amy Heritage and pianist Andrew Cooperstock. Later, Dr. Heritage created a version of this work for flute and guitar. In 1997 Lullabye for Bear won second place in the Composer’s Guild Music for Children composition competition. The reviewer wrote: “This is a beautiful work that is appealing and well constructed. The composer uses conservative modern materials in a fresh manner in the spirit of children with limited technical difficulties. Delightful!” Grade III. (3’30”)
Sound sample: Excerpt.mp3
LULLABYE FOR BEAR for flute & guitar B725G $10.00

Luminous Horizons coverLUMINOUS HORIZONS for bassoon and harp by Howard J. Buss was inspired by the spectacular photos of Pluto taken by the New Horizons probe. The title refers to one image in particular, the stunning backlit photo showing the illuminated blue sky of Pluto. The austere, yet beautiful surface of the planet reveals rugged mountains, craters, and ice plains. All of these observations are incorporated into the musical fabric of this work one way or another. Written for Richard Meek and the 2016 IDRS Conference. (9’) Grade V.
LUMINOUS HORIZONS for bassoon and harp, B456 $20.00

PHOENIX (1986) by Haskell Small was inspired by the story of the Phoenix in ancient Egyptian mythology. ”Sparkling, a fabulous showpiece!” Haskell Small has been hailed by the Washington Post for his "rich imagination and assured mastery." Recorded by Virginia Nanzetta, flute and Sydney Harth, violin on the CD “25 Preludes” on Northeastern Records Classical Arts NR-242-CD. - version for flute and violin Sound Sample.mp3 (10’30”) Grade V.

PHOENIX - version for flute and violin, B601 $16.50
PHOENIX - version for flute and cello B602 $16.50

RHAPSODY AND ALLEGRO (2000) for piccolo & harp by Robert Frank. The first movement alternates between free, cadenza-like material and metered, coordinated passages. The second is playful with soaring, lyrical melodies. Commissioned for Diane Boyd, premiered at the 2000 N.F.A. Convention.
(8’) Grade V.
Sound Samples: Movement 1.mp3; Movement 2 (the ending).mp3
RHAPSODY AND ALLEGRO for piccolo & harp, B712 $20.00

Recollections coverRECOLLECTIONS for violin and percussion (one player: marimba, cymbal and snare drum) by Roger C. Vogel reflects the sadness in recalling tragedies and disappointments, as well as the pleasure in remembering triumphs, good fortune, and pleasant surprises. The percussion part calls for a marimba capable of sounding a low A, but optional lower notes are indicated for a five-octave instrument. Score and part is included. (7’) Grade V.
Score sample: Excerpts.pdf
RECOLLECTIONS for violin and percussion (score & part) B966 $18.00

Ricordi d' amore coverRICORDI D' AMORE “Memories of Love” for two harps Howard J. Buss was composed for the Italian harpists Paola Devoti and Elisabetta Ghebbioni. This composition addresses the human ability that allows one to remember and feel love experienced long ago. The mood of the music hints at nostalgia, but at the same time is relatively bright and optimistic. It was premiered by Ms. Devoti and Ms. Ghebbioni in 2018 at Ex Convento San Francesco in Pordenone, Italy. Score & two parts are included.
(5') Grade IV-V. Sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3

RICORDI D' AMORE “Memories of Love” for 2 harps, score & parts, B477 $22.00

SEASIDE REFLECTIONS (1993) by Howard J. Buss captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music:: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” Dedicated to Brian Luce and Carrol McLaughlin. (7’) Grade IV.
Version for flute & harp sound samples: Excerpt 1.mp3, Excerpt 2.mp3

SEASIDE REFLECTIONS, version for flute & harp, B338H $12.00

Version for clarinet & harp sound sample: Excerpt.mp3

SEASIDE REFLECTIONS version for clarinet & harp, B338CH $12.00
Version for oboe & harp sound samples: Excerpt 1.mp3; Excerpt 2.mp3, Excerpt 3.mp3

SEASIDE REFLECTIONS New Edition: version for oboe & harp B338AH $12.00

TETE-A-TETE (2014) for violin and viola duo by Roger C. Vogel, in 5 movements: Beginnings, Hommages, Conversations, Eulogy, and Dance. This work was written for Maggie Snyder and Michael Heald and premiered by them in February, 2014. The term “tête-à-tête” refers to a conversation between two persons, and these charming pieces represent 5 different moods, or topics that might be discussed.
(17’30) Grade V.
YouTube videos Movement 1; Movement 2; Movement 3; Movement 4; Movement 5

TETE-A-TETE, violin and viola, B939 $18.50

TIME CAPSULE (2002) by Howard Buss is a sonatina in 4 movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance with intriguing interplay between the instruments. (7’) Grade IV.
TIME CAPSULE, Version for violin & B-flat clarinet, B351 $8.95
TIME CAPSULE - Version for two violins, B352 $8.95

triptych for violin and piano by Sterrett coverTRIPTYCH FOR VIOLIN AND PIANO by David M. Sterrett. A “triptych” is a musical collage of 3 contrasting movements unified by a common musical element – in the case of this piece, each movement is in A-B-C-B-A form. While the movements are unified in matching formal scheme, each exudes a different style and character. The first, Scherzo, jokes and jabs with jagged lines and snapping gestures that are sometimes humorous and sometimes aggressive. The second movement, Rhapsody, is the emotional centerpiece of the work and contrasts the snarky character of the Scherzo with gentle, lush, lyrical lines which convey a sense of loss and longing, and ultimately the restorative power of hope. The final movement, Tarantella, follows with its own unique style, a flashy, quick and energetic dance, slightly dark and grim in character, though at times also joyous and playful. Piano score and solo part is included. (11’40”) Grade V. Sound Excerpts: Movement 1.mp3, Movement 2.mp3, Movement 3.mp3


TWILIGHT REFLECTIONS (2001) for flute & guitar by Roger Vogel was written for the Helios Duo.The lyrical nature of the music suggests images of fading light after sunset reflected on water or glass, and also refers to evening thoughts, perhaps at times dramatic ones. (8’) Grade V.
Sound Samples: Excerpt 1(the opening).mp3; Excerpt 2.mp3; Excerpt 3.mp3

TWILIGHT REFLECTIONS for flute & guitar, B919 $10.00

TWO POEMS (1992) for flute & guitar by Lee Heritage was inspired by 2 poems by Emily Dickinson: This - is the land - the Sunset washes - and Wild Nights. Winner of the 1998 Newly-Published Music Contest of the National Flute Association.
(6’30”) Grade IV. 
Sound Samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3

TWO POEMS for flute & guitar, B722 $12.00 

WAVE TRAIN (1990) for flute & guitar by Howard J. Buss. The interaction of the lyrical melodies in this beautiful and frequently performed work is reminiscent of the patterns created by intermingling waves on the surface of water. The flute & marimba version of this work is recorded on the HoneyRock label by the McCormick Duo. This is an attractive feature number which also works well as a contest piece.
(6’15”) Grade IV-V.
WAVE TRAIN for flute & guitar, B345 $12.00

WINTER SUN (1996) for flute & guitar by Roger C. Vogel. This charming work reflects the hope radiating from the sun on a long Winter’s day. (6’) Grade IV.  
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3

WINTER SUN for flute & guitar, B907 $10.00

THE WORLD WITHIN (1999) for clarinet & cello by Howard J. Buss. In recent years this American composer has written a number of works which address the human condition in our rapidly changing, technology-laden society.This composition is a musical metaphor reflecting an individual's yearning to be reconnected with his spiritual past while at the same time endeavoring to be effective in business and social interactions in the modern day world. While writing this work Buss was fascinated by how an acquaintance was resolving this dichotomy in his own life. Six days a week he works 10-hour days as a businessman, immersed in, and sometimes overwhelmed by, the fast-paced world of business. Yet without exception, he spends the entire day every Saturday at his Synagogue in worship, studying the Talmud, following ancient rituals, and reverently assisting the Rabbi in his sacred duties. In this work the 2 worlds, that of one's modern secular existence and that of one's spiritual heritage, are represented musically by two markedly different compositional procedures. The former is represented with a highly-structured, lyrical 12-tone style. The latter is more spontaneous and is influenced by Jewish musical idioms.(10’) Grade V. YouTube video
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
The World Within was written for clarinetist Keith Koons, and cellist, Melissa Kraut. It was premiered by these artists in 2000 at the University of Central Florida, Orlando.

THE WORLD WITHIN for clarinet & cello, B367 $16.50 

ZOOM (2011) for bass trombone (or tuba) and harp by Howard J. Buss was commissioned by Brandt Attema and Astrid Haring. It was inspired by the spectacular images as seen through a satellite camera as the composer zoomed in on the coastline of The Netherlands. The strong narrative quality of the music couples with Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies, makes this work accessible to a wide array of different types of audiences. (10'30") Grade VI.
 Sound samples: Excerpt 1.mp3; Excerpt 2 .mp3; Excerpt 3.mp3; Excerpt 4, the ending.mp3

View at ZOOM: YouTube Video

ZOOM for bass trombone (or tuba) and harp, B426 $22.00

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