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Peter Warlock is now complete in the PracticeClef catalog: all 22 songs in our source corpus are live and playable in your browser. That makes him our twelfth complete composer — meaning every playable engraving of his in that corpus is here, not a greatest-hits sample of a larger output — and the first composer in the catalog from the 20th century, since Warlock died in 1930. Every piece below is the piano part of a voice-and-piano song; the vocal line itself isn't included, so plan on these as accompaniment and sight-reading repertoire rather than solo song transcriptions.
Where the 22 songs come from
The set splits cleanly into named groups. Two complete miniature sets, Peterisms Set 1 (Chopcherry, A Sad Song, Rutterkin) and Peterisms Set 2 (Roister Doister, Spring, Lusty Juventus); the three-song Saudades (Along the Stream, Take, O Take Those Lips Away, Heracleitus); and thirteen further songs drawn from the 1920 Boosey “Songs” collection. A handful of those are featured below; the rest are just as playable on his composer page.
Chopcherry — Peter Warlock
This piece is in A major, sits at level 7 of 9, and takes about 59 seconds to play.
The opener of Peterisms Set 1: brisk, chromatic, and one of the harder pieces in the set despite its short runtime.
Open this score when you want to play it.
Rutterkin — Peter Warlock
This piece is in Ab major (mixolydian), sits at level 7 of 9, and takes about one minute to play.
Closes Peterisms Set 1 under a five-flat signature that isn't really Ab major at all — the flattened seventh degree marks it as Ab mixolydian, one of four genuinely modal scores in this set.
Open this score when you want to play it.
Heracleitus — Peter Warlock
This piece is in E minor, sits at level 6 of 9, and takes about 38 seconds to play.
The third song of Saudades, notated with no key signature at all — the accidentals do the modal work piece-by-piece instead.
Open this score when you want to play it.
Take, O Take Those Lips Away, Saudades No. 2 — Peter Warlock
This piece is in F minor, sits at level 6 of 9, and takes about 52 seconds to play.
The second song of Saudades — the darker, denser of Warlock's two settings of this text.
Open this score when you want to play it.
Take, O Take Those Lips Away, 1918 setting — Peter Warlock
This piece is in F# minor, sits at level 5 of 9, and takes about one minute to play.
Warlock set these same words twice, years apart, and both settings are live under disambiguated titles. This earlier version is shorter and lighter in texture than the Saudades setting above — worth playing back to back to hear how differently he treated the same lyric.
Open this score when you want to play it.
The First Mercy — Peter Warlock
This piece is in G minor, sits at level 6 of 9, and takes about 2 minutes to play.
One of the thirteen songs from the 1920 Boosey collection. It's notated in G with one flat but the melody leans on a natural E throughout, putting it in the Dorian mode until a picardy-third turn to G major right at the close.
Open this score when you want to play it.
Modal notation, not mistakes
Four of the 22 pieces are genuinely off-signature: Rutterkin (Ab mixolydian under a five-flat signature) and The First Mercy (G dorian) both carry key signatures that don't match their actual scale, while Heracleitus and Along the Stream are written with no signature at all — open-key chromatic notation in E minor and C# minor respectively. None of this is an engraving error; it's how the pieces were notated, and it's worth knowing before you sit down to sight-read one and wonder why the key signature and the music don't seem to agree.
An advanced-repertoire collection
Difficulty is graded on PracticeClef's published 1–9 scale. Across the 22 Warlock songs the spread is two pieces at grade 4, ten at grade 5, five at grade 6, and five at grade 7 — nothing graded lower than a 4. That makes this our hardest complete composer collection to date: there's no easy entry point here, so treat it as repertoire for pianists who are already comfortable reading dense, chromatic accompaniments rather than a first stop for beginners.
Explore it
Browse the rest of the set on Peter Warlock's composer page, or the full library to filter by composer, difficulty, or era. Connect a digital piano for live note feedback. Turn on Wait mode when you want the cursor to advance after you play the written notes. See the docs for setup. No account is needed.
A note on the numbers. Keys, difficulty grades, and durations above are pulled from each piece's own metadata record. “Complete” means every playable engraving in our source corpus is live — not every piece Warlock ever wrote. Duration figures are estimates derived from the score, not measured performances. Every piece listed here is the piano part of a voice-and-piano song; the vocal line is not included.