Voice and piano - Medium - Digital Download SKU: MQ.8492-05E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-05E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-05E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Voice and piano - Medium - Digital Download SKU: MQ.8492-20E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-20E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-20E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Flute Solo - Level 1 - Digital Download SKU: A0.643949 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253026. Published by M das Melodias (A0.643949). Music sheet music Deja Vu for Flute. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).

Voice and piano - Medium - Digital Download SKU: MQ.8492-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-27E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Concert Band - Level 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March   Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score).  There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC.  The MP3 was recorded with NotePerformer 3.Grade = 3.5  Duration =.

Voice and piano - Medium - Digital Download SKU: MQ.8492-18E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-18E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-18E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

B-Flat Trumpet Solo - Level 1 - Digital Download SKU: A0.643955 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253032. Published by M das Melodias (A0.643955). Music sheet music Deja Vu for Trumpet in Bb. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu #oliviarodrigo #dejavu #trumpet #sheetmusic #relaxingmusic Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).

Voice and piano - Medium - Digital Download SKU: MQ.8492-04E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-04E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-04E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Cello Solo - Level 1 - Digital Download SKU: A0.643947 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253024. Published by M das Melodias (A0.643947). Music sheet music Deja Vu for Cello. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).

Brass Ensemble Trumpet - Level 1 - Digital Download SKU: A0.1079739 Composed by Eddie Lewis. Classical,Instructional,Sacred. Score and parts. 6 pages. Tiger Music #683926. Published by Tiger Music (A0.1079739). I have said this in the description for other pieces, but it’s worth mentioning again. I believe that trumpet students should begin performing from the start of their careers. The problem with this belief is that there isn’t much good music written for the beginners to perform. Most of what is published is “dumbed down� and doesn’t sound like real music. I have been trying to fill that cap by composing pieces for the beginners that I would be proud to perform in public. My objective with these compositions is to write music that sounds like real music, but functions within the limitations of the beginners’ trumpet skills. My first compositions of this nature were the three bird solos, Bird March, Feathered Friends and The Purple Parrot (which I let my then current students name). One of those students performed the Bird March solo at a school assembly only three or four months after she started playing the trumpet. That student eventually quit trumpet to pursue a busy performance career in theater (she was an elementary school student) but performing the Bird March for her fellow students is a memory she will always fondly look back on. That is part of why performing early in the learning process is so important. You don’t know when students will continue, and which ones will not. For those students whose trumpet careers end up being no longer than a year, the one or two performances they have in that year are all they will have to look back on. Unfortunately, those who do not perform at all will only ever remember the drudgery of pointless practice and rehearsals. But there’s more to my early performance philosophy than just that. For those students who do continue their trumpet careers for many years, the earlier performances have a mental benefit that cannot be replaced in any other way. Their future progress on the trumpet is greatly enhanced by each performance they present in the first two years of their trumpet careers.

Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Piano,Trumpet - Level 5 - Digital Download SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by Graeme Culpepper (A0.1028166). Concerto for Trumpet and Orchestra Composer: Graeme Culpepper Year: 2022   Program Notes: I feel that there is a time in every composer's life when they decide to write a concerto. Writing a concerto is as intriguing as it is difficult, as finding a balance between soloist and ensemble can prove to be a tricky task. What’s more, is deciding upon said ensemble. In today’s musical climate, the supporting ensemble can be a variety of different instrumental groups ranging from a chamber ensemble consisting of just a few musicians to a full symphony orchestra. In my humble opinion, with a genre as grand as a concerto, especially one involving the trumpet, I find it fitting to use the orchestra to accompany the trumpet. However, I opted to use an orchestra without a trumpet section to better support the soloist. This concerto’s first movement is built upon a couple of form-defining motifs. One in the form of an ostinato that is constantly changing meter, and another that is a simple short rhythmic cell that is able to fit in a variety of different textures throughout the movement. This movement also introduces the main motif throughout the entire concerto: a melodic sequence consisting of a minor third, a perfect fifth, followed by another minor third which resolves down by half step. This is the unifying motif of the entire concerto. I often ponder as to where the material in the second movement came from. After a long time of reflection, I have come to the conclusion that it is a subconscious expression of myself that comes from deep within. The second movement is perhaps the most vulnerable I have ever been with any of the music I have written, and the experience I personally have when listening to it is one that is very intimate. The third movement is a thrilling romp that is entirely built on the unifying motif mentioned earlier. The whole movement is essentially one big variation of itself. This movement is arguably the most technical and gives the trumpet soloist a great opportunity to show off their skill. This movement is also built upon a one-bar rhythmic ostinato so that the tension in this movement is never fully resolved until the very last bar, in hopes that this will keep the listener on their toes at all times.  Performed live in Recital Hall at Indiana University Jacobs School of Music on March 1st, 2022Purchase includes Full Score + Solo Trumpet Part.

Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Trombone Solo - Level 1 - Digital Download SKU: A0.643954 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253031. Published by M das Melodias (A0.643954). Music sheet music Deja Vu for Trombone. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).

Alto Saxophone Solo - Level 1 - Digital Download SKU: A0.643946 By Olivia Rodrigo. By Annie Clark, Daniel Nigro, Jack Antonoff, Olivia Rodrigo, and Taylor Swift. Arranged by Josiel Oliveira. Multicultural,Pop,Romantic Period,World. Individual part. 2 pages. M das Melodias #253023. Published by M das Melodias (A0.643946). Music sheet music Deja Vu for Alto Saxophone. Easy level. Very famous music. More played. Excellent romantic music. Beautiful romantic music. Singer Olivia Rodrigo. Relaxing music to dream. Car rides to Malibu Strawberry ice cream One spoon for two And trading jackets Laughing 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha, ha-ha-ha-ha) Watching reruns of Glee Being annoying Singing in harmony I bet she's bragging To all her friends, saying you're so unique, hmm So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh? Do you call her Almost say my name? 'Cause let's be honest We kinda do sound the same Another actress I hate to think that I was just your type I'll bet that she knows Billy Joel 'Cause you played her Uptown Girl You're singing it together Now I bet you even tell her How you love her In between the chorus and the verse (ooh) (I love you) So when you gonna tell her That we did that, too? She thinks it's special But it's all reused That was the show we talked about Played you the song she's singing now when she's with you Do you get déjà vu when she's with you? Do you get déjà vu? Oh Do you get déjà vu? Strawberry ice cream in Malibu Don't act like we didn't do that shit, too You're trading jackets like we used to do (Yeah, everything is all reused) Play her piano, but she doesn't know (oh, oh) That I was the one who taught you Billy Joel (oh) A different girl now, but there's nothing new (I know you get déjà vu).