Flute, strings and basso continuo - intermediate to advanced - Digital Download SKU: S9.Q12513 B minor. Composed by Johann Sebastian Bach. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q12513. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12513). Key: B minor.From early in the 17th century until the form engaged the interest of Johann Sebastian Bach, various notable German composers - including Rosenmüller, Fischer, Fasch and Telemann - had contributed to the development of the orchestral suite or 'Ouverture', which name betrays its French theatrical origins. From Bach himself only four such suites have come down to us due to the diligence of C.F.Penzel, who was a student at the Thomasschule from 1751, and who made copies of Bach's MSS he found there. Thus, neither the dates nor the order of composition of the suites can be established with any certainty. As to the present suite in B minor, recent criticism suggests that Bach's idiomatic flute writing in this popular suite would, even in 1737 or later, have been considered fashionably up-to-date even in Paris. It has also been suggested that the suite could have been written expressly for Pierre-Gabriel Buffardin, principal flautist of the Dresden Court Orchestra.

Brass Quintet Bass Trombone,Horn,Trumpet - Level 3 - Digital Download SKU: A0.1292501 Composed by Jean-Baptiste Lully. Arranged by Noah Bromberg. Baroque,Chamber,Classical,Early Music,Medieval. 9 pages. Noah Bromberg #883053. Published by Noah Bromberg (A0.1292501). Le Bourgeois gentilhomme (French pronunciation: ​[lə bu�ʒwa ʒɑ̃tijɔm], translated as The Bourgeois Gentleman, The Middle-Class Aristocrat, or The Would-Be Noble) is a five-act comédie-ballet – a play intermingled with music, dance and singing – written by Molière, first presented on 14 October 1670 before the court of Louis XIV at the Château of Chambord by Molière's troupe of actors. Subsequent public performances were given at the theatre of the Palais-Royal beginning on 23 November 1670.[1] The music was composed by Jean-Baptiste Lully, the choreography was by Pierre Beauchamp, the sets were by Carlo Vigarani and the costumes were done by the chevalier d’Arvieux.Le Bourgeois gentilhomme satirizes attempts at social climbing and the bourgeois personality, poking fun both at the vulgar, pretentious middle-class and the vain, snobbish aristocracy. The title is meant as an oxymoron: in Molière's France, a gentleman was by definition nobly born, and thus there could be no such thing as a bourgeois gentleman.This orchestration for brass quintet has been adapted to accomodate modern instrumentation, while preserving the original intent of the composer. the piece has been transposed down a whole step from the original key, and slight modifications to the individual parts have been adjusted. No modifications to the voicings have been made to preserve the composers intent.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1405090 Composed by Thomas Oboe Lee. 21st Century,Chamber,Classical,Contemporary. Score. 83 pages. Thomas Oboe Lee #988127. Published by Thomas Oboe Lee (A0.1405090). Debussy's Trois Chansons de Bilitis was one of the works we studied in a seminar taught by Professor Earl Kim when I was a graduate student at Harvard University, 1977 to 1981. I then recently discovered that Debussy took twelve of the 158 poems from Pierre Louÿs' Les Chansons de Bilitis and wrote Musique de scéne pour les chansons de bilitis.' The texts in this version is not sung but recited by a narrator accompanied by two flutes, two harps and celesta. I immediately thought wouldn't it be cool if I took the same texts and set them to music for soprano and piano. That is exactly what I did ... I. Chant Pastoral II. Les Comparaisons III. Les Contes IV. Chanson (Ombre du bois) V. La Partie d'Osselets VI. Bilitis VII. Le Tombeau sans nom VIII. Les Courtisanes Égyptiennes IX. L'Eeau pure du bassin X. La Danseuse aux crotales XI. Le souvenir de Mnasidika XII. Le pluie au matin.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.533488 Composed by Jean-Yves Malmasson. 20th Century,Concert,Contemporary,Standards. Score. 17 pages. Musik Fabrik Music Publishing #2999957. Published by Musik Fabrik Music Publishing (A0.533488). 1. Hymne 2. Tristesse de la Lune 3. Recueillement Jean-Yves MALMASSON was born in 1963 at Saint-Cloud (Hauts-de-Seine), near Paris. He began his musical studies at the National Regional Conservatory of Boulogne-Billancourt (solfege, piano, theory, composition, organ and ondes Martenot) et and then at the Paris Conservatory where he won a First Prize in Orchestration. His principal teachers included Alain LOUVIER, Pierre GROUVEL, Serge NIGG and Jacques CHARPENTIER for theory and composition, and Jean-Claude HARTEMANN and Jean-Sébastien BEREAU for Orchestral Conducting. His work Le Chant de Dahut, poème symphonique for Ondes Martenot and orchestra inspired by the legend of the sunken city of Y won the SACEM prize in the Festival Les Tombées de la Nuit in Rennes, France.

Trombone Solo - Level 5 - Digital Download SKU: A0.799352 Composed by Drake Mabry. 20th Century,Contemporary. Individual part. 13 pages. Drake Mabry #2015075. Published by Drake Mabry (A0.799352). 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchin’s book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985, I participated in the l'atelier de recherche instrumental department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud (flute), Daniel Kientzy (saxophone) and Benny Sluchin (trombone). Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as he’s a wonderful musician, anything is possible, he’s open to trying out new ideas and he’s a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing!! A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the window for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited ‘window’ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. He’s able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between ‘ts’ and ‘tsh’ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really ‘speak’ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to.

Small Ensemble Cello,High Voice,Medium Voice,Piano Accompaniment - Level 4 - Digital Download SKU: A0.533489 Composed by Jean-Yves Malmasson. 20th Century,Concert,Contemporary,Standards. Score and parts. 26 pages. Musik Fabrik Music Publishing #2999959. Published by Musik Fabrik Music Publishing (A0.533489). 1. Hymne 2. Tristesse de la Lune 3. Recueillement Jean-Yves MALMASSON was born in 1963 at Saint-Cloud (Hauts-de-Seine), near Paris. He began his musical studies at the National Regional Conservatory of Boulogne-Billancourt (solfege, piano, theory, composition, organ and ondes Martenot) et and then at the Paris Conservatory where he won a First Prize in Orchestration. His principal teachers included Alain LOUVIER, Pierre GROUVEL, Serge NIGG and Jacques CHARPENTIER for theory and composition, and Jean-Claude HARTEMANN and Jean-Sébastien BEREAU for Orchestral Conducting. His work Le Chant de Dahut, poème symphonique for Ondes Martenot and orchestra inspired by the legend of the sunken city of Y won the SACEM prize in the Festival Les Tombées de la Nuit in Rennes, France.The set includes the vocal score and the cello part.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1405088 Composed by Thomas Oboe Lee. 21st Century,Chamber,Classical,Contemporary. Score. 129 pages. Thomas Oboe Lee #988125. Published by Thomas Oboe Lee (A0.1405088). Debussy's Trois Chansons de Bilitis was one of the works we studied in a seminar taught by Professor Earl Kim when I was a graduate student at Harvard University, 1977 to 1981. I then recently discovered that Debussy took twelve of the 158 poems from Pierre Louÿs' Les Chansons de Bilitis and wrote Musique de scéne pour les chansons de bilitis.' The texts in this version is not sung but recited by a narrator accompanied by two flutes, two harps and celesta. I immediately thought wouldn't it be cool if I took the same texts and set them to music for soprano and piano. That is exactly what I did ... I. Chant Pastoral II. Les Comparaisons III. Les Contes IV. Chanson (Ombre du bois) V. La Partie d'Osselets VI. Bilitis VII. Le Tombeau sans nom VIII. Les Courtisanes Égyptiennes IX. L'Eeau pure du bassin X. La Danseuse aux crotales XI. Le souvenir de Mnasidika XII. Le pluie au matin.

Piano Solo - Level 5 - Digital Download SKU: A0.1166699 By Adolf Gutmann. By Adolf Gutmann. Arranged by Zellev. 19th Century,Broadway,Classical,Musical/Show,Religious,Romantic Period. Score. 6 pages. Zellev Music #767081. Published by Zellev Music (A0.1166699). Adolf Gutmann was born in Heidelberg. He came to Paris in 1834,[4] at the age of 15, to study with Chopin, becoming one of the composer's favourites.[5] He performed in concert with Chopin, Liszt, Charles-Valentin Alkan and Pierre-Joseph Zimmerman, Alkan's transcription of part of Beethoven's Seventh Symphony at a concert of 1838.[6] Gutmann was also the dedicatee of Chopin's Scherzo, Op. 39, published in 1839.[7]Gutmann acted as copyist for a number of Chopin's works, and acted as a courier to take Chopin's letters to his family in Warsaw. Gutmann's own set of Etudes (his Op. 12) is dedicated to Chopin.[6] He was present at Chopin's death bed and preserved the glass from which Chopin took his last drink of water. Both he and Alkan were bequeathed the notes that Chopin had compiled in preparation for a piano teaching method. Gutmann died in La Spezia.[https://en.wikipedia.org/wiki/Adolphe_Gutmann]Key Signature: F♯ MinorTime Signature: Cut TimeTempo: (original: Allegro), Presto at 192 bpm (faster for added mysteriousness)Difficulty: Advanced.

Guitar,Instrumental Duet,Viola - Level 3 - Digital Download SKU: A0.1507276 Composed by David Warin Solomons. 21st Century,Contemporary. 15 pages. David Warin Solomons #1082676. Published by David Warin Solomons (A0.1507276). Duo for viola and guitar originally inspired by the words and rhythms of Lamartine's famous poem Le Lac.The original poem begins as followsAinsi, toujours poussés vers de nouveaux rivages,Dans la nuit éternelle emportés sans retour,Ne pourrons-nous jamais sur l'océan des âgesJeter l'ancre un seul jour?Ô lac ! l'année à peine a fini sa carrière,Et près des flots chéris qu'elle devait revoir,Regarde ! je viens seul m'asseoir sur cette pierreOù tu la vis s'asseoir ![So driven onward to new shores forever,Into the night eternal swept away,Upon the sea of time can we not everDrop anchor for one day?O Lake! Scarce has a single year coursed past.To waves that she was meant to see again,I come alone to sit upon this stoneYou saw her sit on then.].