Concert Band - Level 4 - Digital Download SKU: A0.733026 Composed by Gustave Louis Ganne. Arranged by Marc Oliver. 20th Century. Score and parts. 75 pages. Ayotte Custom Musical Engravings #2347279. Published by Ayotte Custom Musical Engravings (A0.733026). Gustave Louis Ganne was one of the leading composers of light music in France during his lifetime. As a young man he enrolled at the Paris Conservatory and while there Ganne studied composition with Jules Massenet and organ with Cesar Franck. Soon after leaving the conservatory Ganne made a name for himself with his compositions: marches waltzes mazurkas and many other types of music. He is best remembered for his theatrical works first his ballets and later the operettas. Ganne was also a highly competent conductor in the theaters of Paris and later in Monte Carlo. In Monte Carlo he established a series of extremely popular orchestral presentations known as Les Concerts de Louis Ganne. In 1901 he was elected president of the Societ des Auteurs Compositeurs et Editeurs de Musique. The French government later presented him with the Legion of Honor with extra orders. Ganne was loved and admired by those who knew him because of his character and prodigious talent. He died in Paris on July 13 (or 14) 1923. Marche Lorraine is one of Gustav Louis Gannes most well loved marches. It radiates a luminous sophisticated elegance. This march has played an important historic role in France and the Alsace Lorraine area.

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1158022 Composed by Dr. Daniel N. Thrower. 20th Century,Chamber,Classical,Contemporary. 34 pages. Https://gildedmusicpress.com/ #758318. Published by https://gildedmusicpress.com/ (A0.1158022). When Dr. Thrower won the audition for a position in the Air Force Bands in 2011 it fulfilled a childhood dream of becoming a military musician. Then he experienced an intense eight-week party known as Basic Military Training! All new Airmen go through Basic Training at Lackland Air Force Base in San Antonio, TX, which is known as the “Gateway to the Air Force.� Two reasons he chose to enter that Gateway were his patriotism toward the great United States of America, and the great benefits and security that the Air Force offered his family. With these passions in mind, he composed a rousing musical depiction of becoming an Airman. The composition began before Basic Training, so the excitement and anticipation that he felt are exuberantly presented as heroic fanfares and patriotic gestures. However, he completed the composition after boot camp. Accordingly, in the middle of the piece there are moments of struggle and anguish that musically paint the common rigors of Basic Training. The piece ends with recapitulated heroic strains with additional flourishes, as the overall feel for this new life chapter was bound to be exhilarating and inspiring. It is beneficial for the performers to visualize the exciting and difficult journey into the military as they prepare and perform “Gateway to Freedom.� Also a play on the title, this piece was composed for and premiered by “Gateway Brass� (the brass quintet from the USAF Band of the West) in October 2011. Special gratitude goes to Jim Bartelt (USAF, retired) who contributed greatly to the creation of the percussion part.

Piano Solo - Level 4 - Digital Download SKU: A0.1295715 Composed by Donald Ashwander. Ragtime. Score. 6 pages. The Donald Ashwander Estate #886012. Published by The Donald Ashwander Estate (A0.1295715). Perdido Bay Moon Rag is a heartfelt and evocative solo piano composition dedicated to the memory of an elegant lady whose love for dance and a chance suggestion led to the creation of this beautiful piece. The composition pays homage to the serene beauty and cherished memories of Bear Point, Alabama, a place rich in history and personal significance to the composer, Donald Ashwander.The story behind Perdido Bay Moon Rag begins on a summer day when Donald, along with friends Edith and Edwin Zelnicker, found themselves on the picturesque Bear Point, Alabama. This tranquil peninsula on the shores of Perdido Bay held a special place in their hearts, as it was a locale where they had spent countless hours as children. They reminisced about their youth, playing beneath the majestic magnolia trees adorned with Spanish Moss and exploring ancient Indian mounds in search of pottery shards.It was during this nostalgic conversation that Edith, the elegant lady in question, suggested the title for a piano composition: Perdido Bay Moon Rag. Enchanted by the idea, Donald was determined to bring this vision to life. Upon returning to New York, he began crafting the piece, but it somehow eluded his grasp. Despite this initial challenge, he designed an appropriate cover for the composition and sent it to Edith and Edwin in Mobile.Over the years, Perdido Bay Moon Rag remained a fixture on Edith and Edwin's piano, a symbol of a cherished memory and unfulfilled promise. Edith confessed to her friend that she had attempted to play the piece but found it too complex, and so it remained unplayed.Time passed, and sadly, Edith fell ill. On a poignant visit to Mobile after Edith's passing, the atmosphere in their home was filled with her spirit. There, prominently displayed on the piano, lay Perdido Bay Moon Rag. In that moment, Donald knew that he needed to fulfill his promise and honor Edith's memory properly.With newfound determination and inspiration, Donald embarked on a journey to create a completely new composition that would capture the essence of Bear Point, Perdido Bay, and the moonlit nights they had cherished. This time, the music flowed effortlessly from his fingertips, as if guided by the memories and love he held for his dear friend.Perdido Bay Moon Rag is a testament to the enduring power of memories, friendship, and the creative process. It reflects the tranquility of Bear Point, the gentle sway of Spanish Moss, and the serenity of moonlit nights on the bay. Through its delicate melodies and intricate rhythms, the composition invites listeners to share in the deep emotions and fond recollections that inspired its creation.The final page of the sheet music contains special program notes by Donald Ashwander.

Bassoon,Clarinet,Flute,Horn,Oboe - Level 4 - Digital Download SKU: A0.942429 Composed by Claude Debussy (1862-1918). Arranged by Brock Lupton (1948-). 20th Century. 24 pages. Brock Lupton #6858209. Published by Brock Lupton (A0.942429). Claude Debussy was, by all accounts, totally devoted to his daughter Claude-Emma (affectionately known as Chouchou) The suite Children's Corner (for solo piano) is dedicated to Chouchou. She outlived her father by scarcely a year, succumbing to the diphtheria epidemic of 1919. (with information from Wikipedia). The naming of one or two among Debussy's piano works can raise issues in the light of current trends. These were not an issue during the composer's life, but are unlikely to be ignored today. The word Golliwog may have unwanted implications, but its omission may cause confusion with another of the composer's short piano works known simply as Cakewalk. The cakewalk was a dance developed from the prize walks (dance contests with a cake awarded as the prize) held in the mid-19th century, generally at get-togethers on Black slave plantations before and after emancipation in the Southern United States.... It was originally a processional partner dance danced with comical formality, and may have developed as a subtle mockery of the mannered dances of white slaveholders. Following an exhibition of the cakewalk at the 1876 Centennial Exposition in Philadelphia, the cakewalk was adopted by performers in minstrel shows, where it was danced exclusively by men until the 1890s. At that point, Broadway shows featuring women began to include cakewalks, and grotesque dances became very popular across the country. [Wikipedia] The grotesque aspect of some later cakewalk dance steps may well be heard in the accompaniment to this work: the oboist's endeavors to produce a soft low B-natural (!) will help create this effect.Technically this piece is intermediate, but the range of the bassoon (especially), oboe, and (to a lesser extent) horn parts are an additional challenge for those players.

Small Ensemble B-Flat Clarinet,Cello,Viola,Violin - Level 5 - Digital Download SKU: A0.1028192 Composed by Jeremy Hart. 20th Century,Contemporary. Score and parts. 37 pages. Jeremy Graham Hart #6590413. Published by Jeremy Graham Hart (A0.1028192). Oscillation began as an experiment in coordination of a melody and harmony which are based on different means of organization. To this end, the clarinet is treated separately from the string quartet. The clarinet melody is constructed by means of limited interval usage. In mm.1–3 it can be observed that the melodic intervals are strictly limited to the use of a major 2nd/minor 7th or a major 6th/minor 3rd. By contrast, the string quartet has no limitation on its intervallic usage but always strives towards triadic harmonies in its accompanimental capacity and tends to converge on harmonies diatonic to the key. In addition, despite the proliferation of non-chord tones and transitionary passages in the string quartets’ music, the stable harmonies are written to have fairly parsimonious motion between them (if one were to reduce out the NCTs etc.) The coordination of these two separate logics is done by the selection of anchor-pitches for the melodic phrases. For example, the melodic phrase in mm.4–7 oscillates around the pitch of G natural (transposed in the score), which it shares with the F major/minor 7th chord that is heard as the harmonic goal of the strings in m.7. The teleology of the work can largely be traced in its melodic construction. Its opening phrase of mm.1–3 is anchored on G natural and ends on a C sharp, a tritone above the anchor, to simulate a half-cadence effect. The second phrase of mm.4–7 is still written on G natural but it ends on G as well, forming the authentic cadence and establishing a basic period as well as the work’s first theme. This is followed by second period which represents a dominant relationship to the first. The phrase at mm.10–13.2 is a rather extended utterance in comparison to the first two and is anchored on D natural. This is followed by 4-stage call and response across the ensemble (excluding the second violin) that leads the first section to a close at m.16 on a C diminished triad. Melodically, the first section is characterised by its limited used of a major 2nd/minor 7th or a major 6th/minor 3rd interval. At m.17, the second section follows much the same process as the first, using anchor pitches as a means of coordination and formal definition, and alternating soloistic clarinet playing with activated harmonies in the strings. The primary difference is in the character of the second section’s theme with regards to its rhythmic profile as well as its intervallic content. Namely, these are limited to the use of a minor 3rd or minor 2nd and their inversions. The second section draws to a close at m.32, returning to the tonic harmony of the key. With the first and second sections complete, the work now proceeds into a developmental section. Mm.33–84 largely consists of development of the two themes by manipulation of intervallic content as well as adjusting the placement of the thematic material withing the accompanimental context. This does include juxtaposition of the two themes (though one typicall becomes integrated into to accompaniment) as can be seen between the violin and viola at m.39. Variety is heightened by the introduction of episodic material such as the secondary melody performed by the clarinet at mm.40–41. The Lento section starting at m.53 introduces further rhythmic and metric adjustment of the thematic content. A varied recapitulation occurs at mm.85–113 and is followed by a coda at mm.114–131.

String Trio Cello,Viola,Violin - Level 4 - Digital Download SKU: A0.1306598 By Luciano Michelini. By Larry David, Luciano Michelini, and Wendell Yuponce. Arranged by AZSAP MUSiC. Reggae. 4 pages. AZSAP MUSiC #895942. Published by AZSAP MUSiC (A0.1306598). Embark on a whimsical and entertaining musical adventure with our string trio arrangement of Frolic, the iconic theme from Curb Your Enthusiasm. This lively rendition captures the playful and humorous spirit of the original, making it a perfect choice for performances that seek to infuse a sense of fun and merriment into any setting.Key Features:1. **Lighthearted Joy:** Frolic from Curb Your Enthusiasm is known for its irreverent and humorous vibe. Our string trio arrangement captures the essence of the original while adding a classical touch, resulting in a performance that's both entertaining and fun.2. **Flexible Ensemble:** This arrangement offers flexibility by allowing you to perform it with either the second violin or viola, thanks to the inclusion of both parts. It accommodates a variety of ensemble setups, ensuring you can tailor the performance to your preferences.3. **Ideal for Various Occasions:** Whether you're planning a fun and light-hearted concert, a quirky private event, or even a performance to inject humor into a formal setting, this arrangement adds a playful atmosphere to your repertoire.4. **Professionally Notated:** Our sheet music is professionally notated, ensuring that each member of your trio has meticulously crafted parts that harmonize seamlessly, delivering a polished and expressive performance.5. **Room for Artistic Interpretation:** While remaining true to the original's character, our arrangement allows for artistic interpretation, giving your ensemble the freedom to infuse their unique style and humor into the performance.6. **Instant Digital Download:** Skip the wait for physical sheet music. With digital access, you can instantly download the sheet music, making rehearsal and preparation convenient and efficient.Infuse humor and lightheartedness into your performances with Frolic from Curb Your Enthusiasm and your string trio. This arrangement was thoughtfully designed to bridge the gap between irreverent humor and classical elegance, offering a delightful and entertaining musical experience. Order your copy today and embark on a musical journey that is sure to bring smiles and laughter to your audience and ensemble.

Cello,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1222221 By Sebastien Yradier. By Sebastien Yradier. Arranged by Sarah Cellobat Chaffee. Film/TV,Folk,Latin,Multicultural,Traditional,World. 8 pages. Sarah Cellobat Chaffee #818483. Published by Sarah Cellobat Chaffee (A0.1222221). Composed around 1860 by the Spanish Basque composer Sebastien Yradier, La Paloma (or in English, The Dove) is a hugely popular song, reminiscent of Habanera from Carmen, that has been adopted and reinterpreted by numerous people in numerous languages around the world. Considered to be one of the first universally popular hit songs, it has also been featured in dozens of movies and recorded by dozens of artists -- so you can't go wrong adding this one to your gig books! This arrangement for violin and cello duet maintains the soaring melodies, elegant rhythmic motifs, and dynamic build of the original for a performance your audience is sure to love! Rated intermediate; this will be learnable for students and sightreadable for professionals.Sarah “Cellobat� Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild� residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.

Piano Solo - Level 3 - Digital Download SKU: A0.1325492 By Stephen R Dalrymple. By Charles Wesley & Felix Mendelssohn (WH Cummings). Arranged by Stephen R Dalrymple. Advent,Sacred. Score. 17 pages. Stephen R Dalrymple #913719. Published by Stephen R Dalrymple (A0.1325492). Hark the Herald Angels Sing♫ by Charles Wesley (1739) and Felix Mendelsohn (adapted by W H Cummings (1857) ♫ with  Δόξα �ν ὑψίστοις θεῷ (Glory to God in the Highest) ♫ original song © 2023 Stephen R Dalrymple♫ piano solo arrangement by Stephen R Dalrymple♫ performed by the arranger♫ music © 2023 Stephen R Dalrymple ♫ recording ℗  2023 Stephen R Dalrymple ♫ presentation © 2023 Stephen R Dalrymple ♫ Charles Wesley started his poem with ‘Listen to the angels !’ This started me wondering, what did the angels’ voices sound like ? ♫ Prosody is study of the intonation, stress, and rhythm of the speech of a language (contrasted with the sounds of the vowels and consonants.) Could I replicate the angel’s basic speech patterns? My study of Greek in seminary has given me a pretty good idea of how to pronounce the consonants and vowels of the Greek language. But I would want to listen to someone who actually speaks Greek as their mother tongue to have an idea of the prosody. After further study, I have rewritten the angels’ music; this update represents my latest understanding.♫ Although Latin was the language of the Roman conquerors, Greek was the lingua franca of the Mediterranean world of the first century. Some scholars want us to believe that most of the Jews were not erudite enough to speak Greek. ♫ Yet those of us who have travelled to countries like Haiti, are not surprised that many people there speak Kreyòl, French, English and Spanish!♫ I began searching for someone who actually spoke Greek conversationally to pronounce Luke 2 :14 in Greek. After I found a reliable source, I reduced the rhythm and the accented sylables to simpified music notation. I pulled from my knowledge of ancient modes and used my imagination to add pitches and repetitions of phrases. The melodic and harmonic result is completely inventive, but I believe the basic rhythm of the speech is fairly accurate.♫ This .pdf file includes 2 files: 1) Letter size piano score 2) Small page piano score for performing from a 10 inch tablet♫ (Tell your computer which pages you want to print. There are programs online that will allow you to split pdf files so that you can choose the correct part of the pdf for your tablet.)♫ A duplicate YouTube Video is available in French (Écoutez le chant des anges) https://youtu.be/9_equasuWR4YouTube Channel: @DalrympleDesigns.

Piano Solo - Level 5 - Digital Download SKU: A0.1125803 By Michael Swedberg. By Traditional French Melody. Arranged by Terrence Niska. Christmas,Contemporary,Holiday. Score. 8 pages. Niska Music Publishing #726544. Published by Niska Music Publishing (A0.1125803). I first became familiar with this tune in high school choir when we performed “Sing We Now of Christmas� for a holiday concert. I did not know that it had originated as a French carol from the late 15th/early16th century and like many of my favorite carols, it is set in a minor key. I had forgotten all about it until a friend suggested arranging it for this collection. As I began working on the piece, I was torn between staying true to the feel of the original and this growing sense I had to write something more dramatic and more inspired by one of my favorite composers, Ralph Vaughn Williams. I chose a much slower tempo than the French carol and as a result it has more depth and a sense of gravitas, reflecting the mystery of the birth of Christ. At the end of the first verse, I transition to the parallel major key and the music takes on a more lighthearted and almost dance-like character as the stable is visited by shepherds and kings alike to see for themselves the sleeping child and enjoy the sense of wonder and amazement at such a scene. The music then moves back to the opening and the original key as the kings offer their gifts to the babe and prepare to return home. Even though it is in a minor key, there is an overpowering grandeur in this prelude reflecting the events to come in His short life on this earth, but even more the importance to all that his sacrifice would bring. There is a brief coda that returns to the major key with the promise of hope offered by one so small.

Piano Solo - Level 3 - Digital Download SKU: A0.1005494 Composed by Jill Hudson. Contemporary,New Age,Sacred,Spiritual. Score. 2 pages. Jill Hudson #5803363. Published by Jill Hudson (A0.1005494). This beautiful piece was written during the 2020 coronavirus pandemic.  The pianist is directed to play Sadly, but with hope.  With an ostinato in the bass, the theme is stated simply in a minor key, then repeated with octaves, as if pleading.  The B section introduces a new contrasting theme in the relative major key, providing the hope needed to survive the loneliness and fear with which so many are suffering.  The bridge to the last statement of the theme once again employs octaves with the G# repeated tones building tension to the same longing with which we began.  This piece would be suitable for church services where contemplation is requested, such as preludes, offertoires, or communion.

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.

Piano,Soprano Saxophone - Level 4 - Digital Download SKU: A0.533470 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 15 pages. Musik Fabrik Music Publishing #2994069. Published by Musik Fabrik Music Publishing (A0.533470). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.Alexandra was written on the occasion of the concert that Soualle gave fire Prince of Wales and is dedicated to the Princess of Wales. This piece opens « The Royal Album ». The dynamics, articulations and expressive markings were added by the editor.

String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.1511369 Composed by Clara Wieck-Schumann. Arranged by Stephen Levintow. 19th Century,Romantic Period. 32 pages. Cypress Publishing #1086543. Published by Cypress Publishing (A0.1511369). Appreciation for the quality and charm of Clara Schumann’s music has increased in recent years as it has become better known. She was the daughter and prize pupil of the celebrated piano teacher Friedrich Wieck, and she toured internationally by her early teens. Wieck also taught Robert Schumann, but bitterly opposed the liaison of Robert and Clara, aware that it would cause him to lose control of her career and the income it generated. The two were able to marry only after a long court battle with Wieck.In the 40 years that Clara survived Robert, she composed very little, devoting her energy to performance, and to securing Robert’s musical legacy. Nobody can blame her for this, especially as performing was a far more secure way to support her large family. But we can still regret that she did not compose more, given the excellence of the small body of work we have. This set includes arrangements of two piano pieces from her Opus 15, Vier flüchtige Stücke (Four Fleeting Pieces), and two Lieder for voice and piano from her Opus 13, Der Mond kommt still gegangen (The Moon Comes Quietly) and Liebeszauber (Love’s Spell). Clara’s musical forms are generally more conventional than Robert’s, but she is capable of bold harmonies and modulations, often in the middle sections of her piano pieces. Opus 15, No. 3, the third of this set, is an example, with some rhythmic challenges to the quartet. Cypress Publishing offers other works by Clara Schumann arranged for string quartet under “Two Pieces by Clara Schumann” (from Op. 15 and Op. 21), and her wonderful song Liebst du um Schönheit (If You Love for Beauty), paired with Robert’s great Mondnacht (Moonlit Night) as “Two Songs by the Schumanns”.CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.

Small Ensemble B-Flat Clarinet,Bassoon,Oboe,Tenor Saxophone - Level 4 - Digital Download SKU: A0.799462 Composed by Drake Mabry. Contemporary. Score and parts. 24 pages. Drake Mabry #1989261. Published by Drake Mabry (A0.799462). Three Painters was a 2008 commission from the Conservatory of Music in Chalons, France. Each of the three movements is inspired by some of my favorite painters, in this case Yves Klein, Zao Wou-ki and Jackson Pollock for the first, second and third movements respectively. I first saw Yves Klein work on a visit to Balbao, Spain during an exhibit of his art at the Guggenheim Museum. There was a kind of giant sandbox filled with his famous blue pigment. The lighting created timbral shadows which varied depending on where the viewer stood. It was difficult to leave. I first saw Zao Wou-ki's paintings during an exhibit in Paris around 2000 – I don't remember where. The abstract shape and colors fascinated me and each work seemed to explore a different emotional perspective. And they were simply beautiful. In 1967 I began my music studies in New York and within a few months of arriving went to the Museum of Modern Art at W. 53rd street. On the way there I crossed paths with Moondog on the street near the museum dressed in his Viking outfit. From my first visit, the two artists I remember most vividly were Jackson Pollock and Alexander Calder. Jackson Pollock's art washed over my senses and I stared at One: Number 31 1950 for what seemed to be hours. And Calder's mobiles danced in slow motion and also captivated me. Someday I will write a work to pay homage to him. Three Painters depicts what I see in the works of these artists as sound over time. The first movement (Yves Klein) explores the subtle changing orchestrational timbres on the pitch 'F'. The second movement (Zao Wou-ki) uses the instruments without their reeds and/or mouthpieces resulting in waves of air sounds washing over the senses. The Third movement (Jackson Pollock) is a jazz-like romp which transfers his vibrant visual energy to a full-blown big band style played by the ensemble. The duration is 12 minutes.Three Painters was premiered by an ensemble conducted by Philippe Cambreling at the Auditorium, CRR de Chalon sur Saône, France on March 22, 2009.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1279472 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Glauco Fernandes. Chamber,Film/TV,Pop,Wedding. 14 pages. Glauco Fernandes #870955. Published by Glauco Fernandes (A0.1279472). Sublime Brass Quintet Arrangement - Featuring What Was I Made For by Billie Eilish from the Barbie Movie SoundtrackExperience the magic of music with our sublime offering: a meticulously crafted brass quintet arrangement that impeccably captures the essence of the captivating song What Was I Made For by the incredibly talented Billie Eilish. This song, a captivating component of the sensational Barbie movie soundtrack released in 2023, is already making an indelible mark on hearts around the world.Our comprehensive package includes the full score for this enchanting brass quintet arrangement, allowing musicians to skillfully recreate the intricate melodies and emotive harmonies that make this piece truly special. Whether you're a devoted brass player or an event professional looking to enhance occasions like weddings and receptions, this arrangement brings an air of elegance that will undoubtedly enchant your audience.Why Opt for Our Brass Quintet Arrangement:- Expertly Crafted: Merging the expertise of seasoned musicians, our arrangement seamlessly blends the essence of the original song with added depth and sophistication.- Versatility for Various Events: Elevate the ambiance of any event, whether an intimate gathering or a grand celebration, with the emotional melodies of What Was I Made For.- An Emotion-Immersive Experience: Immerse yourself and captivate your audience with the evocative melodies that define this song, ensuring an unforgettable performance.Discover the enchantment of our brass quintet arrangement. Infuse your musical repertoire with this stunning composition, and bring forth an infusion of elegance, emotion, and sophistication to your performances and events. Download your sheet music today and let the captivating notes of What Was I Made For resonate through your music.Keywords: brass quintet arrangement, sheet music, Billie Eilish, What Was I Made For, Barbie movie, soundtrack, events, weddings, online sheet music, emotional music.