Menu
The Seal Lullaby
Browse CatalogSATB & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
The Text
Oh! Hush thee, my baby, the night is behind us,
And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow,
Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936
Perusal Score
Duration
4 minutes
Year of Composition
2008
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: SheetMusicDirect
Perusal Score
SSA & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
The Text
Oh! Hush thee, my baby, the night is behind us,
And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow,
Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936
Duration
4 minutes
Year of Composition
2008
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: SheetMusicDirect
SA & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
The Text
Oh! Hush thee, my baby, the night is behind us,
And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow,
Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936
Duration
4 minutes
Year of Composition
2018
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: SheetMusicDirect
SAB & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
The Text
Oh! Hush thee, my baby, the night is behind us,
And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow,
Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936
Duration
4 minutes
Year of Composition
2018
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: SheetMusicDirect
TB & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
The Text
Oh! Hush thee, my baby, the night is behind us,
And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow,
Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936
Duration
4 minutes
Year of Composition
2018
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: SheetMusicDirect
TTBB & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
The Text
Oh! Hush thee, my baby, the night is behind us,
And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
At rest in the hollows that rustle between.
Where billow meets billow, then soft be thy pillow,
Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
Asleep in the arms of the slow swinging seas!
Rudyard Kipling, 1865-1936
Duration
4 minutes
Year of Composition
2009
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: SheetMusicDirect
Wind Ensemble
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
Instrumentation
Flutes 1 & 2
Oboe
Bassoon
Clarinets in B♭ 1, 2 & 3
Bass Clarinet in B♭
Alto Saxophones in E♭ 1 & 2
Tenor Saxophone in B♭
Baritone Saxophone in E♭
Trumpets in B♭ 1 & 2
Horns in F 1 & 2
Trombones 1 & 2
Bass Trombone
Baritone BC
Baritone TC
Tuba
Glockenspiel
Piano
Duration
4 minutes
Year of Composition
2008
Difficulty
Level 4
Licensing
Purchase
US: Hal Leonard
UK: Musicroom
World: Music Shop Europe
Digital: Sheet Music Direct
Perusal Score
Flex Band
Note from Composer
Performance Notes For This Adaptable Edition by Arranger, Robert J. Ambrose
This 6-part, adaptable arrangement of The Seal Lullaby was created during the COVID-19 pandemic as part of The Creative Repertoire Initiative (creativerepertoire.com). A few items bear discussion.
- The piece was arranged with maximum flexibility in mind and can be performed by any of the following ensembles: concert band (with as few as six wind players), brass ensemble, clarinet choir, saxophone choir, woodwind choir.
- Great consideration was given to instrument range. However, if the director feels that a passage is too high or low to be played well, (s)he may feel free to make octave adjustments, keeping in mind that it is usually more musically satisfying to modify an entire phrase or sub-phrase instead of just one or two notes.
- A keyboard percussion trio comprising glockenspiel, vibraphone, and marimba has been included. These instruments may be used together as a substitute for piano or may be used in any combination with the piano part. If only one percussionist is available, (s)he should play the glockenspiel part since it was included in the original band version of the piece.
- The vibraphone and marimba parts contain some ossia notes (indicated with a small notehead). Please play these notes only if the instrument’s range does not allow the large notes to be played.
- Please choose keyboard percussion mallets carefully. Strive to achieve a balance and blend between the percussion parts. The glockenspiel part calls for plastic mallets but the director may feel free to use another mallet type if it creates a satisfying blend of sound.
Instrumentation
PART 1
Flute/Oboe
Bb Clarinet/Bb Soprano Saxophone/Bb Trumpet
Eb Alto Saxophone
PART 2
Bb Clarinet/Bb Trumpet
Eb Alto Saxophone
PART 3
Bb Clarinet
Eb Alto Saxophone
F Horn
PART 4
Bb Clarinet
Eb Alto Clarinet (included in the parts but not the score)
Bb Bass Clarinet/Bb Tenor Saxophone/Baritone T.C.
Trombone/Baritone B.C.
PART 5
Bb Bass Clarinet/Bb Tenor Saxophone/Baritone T.C.
Eb Contra Alto Clarinet/Eb Baritone Saxophone
Bassoon/Trombone/Baritone B.C.
PART 6
Bb Bass Clarinet/Bb Contrabass Clarinet
Eb Baritone Saxophone
Bassoon/Tuba/String Bass
PERCUSSION (the three keyboard percussion parts may be used along with or as a substitute for piano)
Glockenspiel
Vibraphone
Marimba
Piano
Duration
4 minutes
Year of Composition
2020
Licensing
Purchase
US: Hal Leonard
UK: Music Room
World: Music Shop Europe
Digital: Sheet Music Direct
String Orchestra & Piano
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
Instrumentation
Violin I
Violin II
Viola
Violoncello
Contrabass
Piano
Duration
4 minutes
Licensing
Hire
Flugel Horn & Brass Band
Note from Composer
In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally.
Soon after the workshop I received a call from a major film studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting.
The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.
The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby).
I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me. I wrote it down as quickly as I could, had my wife record it while I accompanied her at the piano, and then dropped it off at the film studio.
I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.”
So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him.
Instrumentation
Soprano Cornet in E♭
Solo Cornet in B♭
Cornets in B♭ 1 & 2
Solo Flugel Horn in B♭
Solo Horn in E♭
Horns in E♭ 1 & 2
Baritone in B♭ 1 & 2
Trombone in B♭ 1 & 2
Bass Trombone
Euphonium in B♭
Bass in E♭
Bass in B♭
Suspended Cymbal
Glockenspiel
Duration
4 minutes
Licensing
Purchase
US: Studio Music
Solo Guitar
Note from Composer
“I was first introduced to Eric Whitacre’s music on my wedding day. As a surprise gift This Marriage was sung during the ceremony. I was immediately taken aback by the sheer beauty of sound that melded so flawlessly with the wonderful words of the poet Rumi. Sometime later I attempted a guitar transcription of This Marriage and was rather amazed that it was not only possible to play it verbatim, but that the music also maintained its integrity without the words. Having received an enthusiastic endorsement for the guitar arrangement from Eric, he suggested three other titles to transcribe: Goodnight Moon, The Seal Lullaby and Sing Gently. I am very proud to present these four arrangements which are a welcome addition to the guitar’s concert repertoire.” – Gerard Cousins
Duration
4 minutes
Year of Composition
2020
Licensing
Purchase
Digital: Sheet Music Direct
Strings and Piano (4 hands)
Note from Composer
The Seal Lullaby originated as a choral work written by Eric in 2008. In 2019, Simon Parkin arranged the piece for CARNIVAL performed by The Kanneh-Masons released on Decca Classics in 2020.
Instrumentation:
Violin 1
Violin 2
Violin 3
Cello 1
Cello 2
Piano 4-Hands (Primo & Secondo)
Duration
4 minutes
Purchase
US: Hal Leonard
Digital: Sheet Music Direct
Music Catalog
- A Boy and a Girl
- All Seems Beautiful To Me
- Alleluia
- Alone
- Animal Crackers Vol. I
- Animal Crackers Vol. II
- as is the sea marvelous
- Child of Wonder
- Cloudburst
- Deep Field
- Enjoy the Silence
- Equus
- Five Hebrew Love Songs
- Fly to Paradise
- Ghost Train
- Glow
- Go, Lovely Rose
- Godzilla Eats Las Vegas!
- Goodnight Moon
- Her Sacred Spirit Soars
- Higher, Faster, Stronger
- Home
- hope, faith, life, love
- Hurt
- i carry your heart
- I Hide Myself
- i thank You God for most this amazing day
- i walked the boulevard
- i will wade out
- Leonardo Dreams of His Flying Machine
- Little Birds
- little man in a hurry
- little tree
- Lux Aurumque
- Lux Nova
- maggie and milly and molly and may
- Mermaids (from Pirates of the Caribbean 4)
- Noisy Wheels of Joy
- Nox Aurumque
- October
- Oculi Omnium
- Paradise Lost
- Prelude in C
- Psalm 137: By the Waters of Babylon
- Sainte-Chapelle
- She Weeps Over Rahoon
- Sing Gently
- Sleep
- Sleep My Child
- Songs of Immortality
- The Boy Who Laughed at Santa Claus
- The Chelsea Carol
- The City and the Sea
- The Gift of the Magi
- the moon is hiding in her hair
- The River Cam
- The Sacred Veil
- The Seal Lullaby
- The Star-Spangled Banner
- The Stolen Child
- This Marriage
- Three Flower Songs
- Three Songs of Faith
- Very Soon
- Water Night
- What If
- When David Heard
- Winter
- With A Lily In Your Hand
- You Rise, I Fall