Jazz Ensemble - Digital Download SKU: AX.00-PC-0017174_T4 4th B-flat Trumpet. Composed by Harold Arlen. Arranged by Alan Baylock. Jazz; Movie. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017174_T4. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017174_T4). UPC: 038081378442.Do you have two trumpet players to showcase? Here is a ballad everybody knows, scored as a trumpet duet. Everything is written, no improvised solo, the lead trumpet range is to C above the staff, and the second part is to written A. Lyrical and melodic, it's a sure-fire crowd pleaser. (2:40).

Jazz Ensemble - Digital Download SKU: AX.00-PC-0017174_TN1 1st Trombone. Composed by Harold Arlen. Arranged by Alan Baylock. Jazz; Movie. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017174_TN1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017174_TN1). UPC: 038081378442.Do you have two trumpet players to showcase? Here is a ballad everybody knows, scored as a trumpet duet. Everything is written, no improvised solo, the lead trumpet range is to C above the staff, and the second part is to written A. Lyrical and melodic, it's a sure-fire crowd pleaser. (2:40).

Jazz Ensemble - Digital Download SKU: AX.00-PC-0016172_TN1 1st Trombone. Composed by Robert Parissi. Arranged by Gordon Goodwin. Instructional. Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0016172_TN1. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016172_TN1). UPC: 038081277486.Funky, funkier, funkiest. This Gordon Goodwin chart on the classic funk rock tune Play That Funky Music is a showcase for your lead alto saxophone soloist from start to finish. This one demands a contemporary alto sax soloist with style and some altissimo chops too. Groove is essential for the rhythm section. If you have the rhythm section funk groove and the alto player, this is IT! As recorded on The Phat Pack, Gordon's newest CD.

Jazz Ensemble - Digital Download SKU: AX.00-PC-0017174_GC Guitar Chords. Composed by Harold Arlen. Arranged by Alan Baylock. Jazz; Movie. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0017174_GC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017174_GC). UPC: 038081378442.Do you have two trumpet players to showcase? Here is a ballad everybody knows, scored as a trumpet duet. Everything is written, no improvised solo, the lead trumpet range is to C above the staff, and the second part is to written A. Lyrical and melodic, it's a sure-fire crowd pleaser. (2:40).

Jazz Ensemble - Digital Download SKU: AX.00-PC-0015719_GC Guitar Chords. Composed by Sammy Fain. Arranged by Dave Wolpe. Instructional. Part. 1 pages. Alfred Music - Digital Sheet Music #00-PC-0015719_GC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0015719_GC). UPC: 038081335414.Featuring the trombone section, Dave Wolpe's chart on Secret Love is outstanding! All four parts have written-out solo sections, plenty of section work and nice ensemble parts. Lead 'bone range is to high B-flat and lead trumpet is to written B, above the staff. A terrific chart to showcase your trombones. (3:43).

Composed by Louis Silvers. Portraits, Comfort, Optimism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.8923). - - - Johns Hopkins University Sheridan Libraries

Composed by Louis Silvers. Celebrities, Portraits, Optimism. Lester S. Levy Collection. 4 pages. Published by Johns Hopkins University Sheridan Libraries (LV.9180). - - - Johns Hopkins University Sheridan Libraries

Piano Solo - Digital Download SKU: A0.1252474 By Scholler. By Scholler. Arranged by Scholler. Classical,Contemporary,Contest,Festival,Film/TV,Multicultural,World. Score. 5 pages. Scholler #846449. Published by Scholler (A0.1252474). Black Lotus is a captivating and challenging piano solo that combines intricate rhythms with contrasting moods. The piece is characterized by its unconventional time signatures, ranging from 7/16 to 3/8 to 7/8, which continually challenge the pianist's rhythmic precision and adaptability.The composition begins with a constant exploration of rhythmic variations, creating a sense of musical chaos. However, amidst the rhythmic complexity, a serene and delicate melody emerges, offering a contrasting calm and quiet atmosphere. This melodic line serves as a tranquil oasis within the rhythmic storm, providing moments of respite for both the performer and the listener.As the piece progresses, it transitions into the second part, where the atmosphere becomes calm and peaceful. However, the tranquility is periodically interrupted by unexpected and irregular measures, which serve as subtle reminders of the earlier rhythmic challenges. These interruptions add an element of surprise and unpredictability to the overall musical narrative.After the intermittent disruptions, the composition briefly ventures into a peaceful waltz-like section. The lilting and graceful waltz rhythm provides a temporary escape from the previous complexities, offering a soothing and elegant respite. However, this tranquility is transient, as the piece returns to the main theme, rekindling the initial chaos.Finally, Black Lotus concludes with a powerful rendition of the main theme, showcasing the pianist's virtuosity and the culmination of the piece's diverse elements. The final moments bring the composition to a dramatic close, leaving the audience captivated and in awe of the journey they have experienced.Black Lotus is a unique and challenging piano solo that demands technical mastery and a deep understanding of rhythm. It offers an opportunity for pianists to showcase their skill and artistry while navigating through the intricate rhythmic landscape and delivering the contrasting emotions of calmness and chaos.SchollermusicTheodosius Bates

SATB chorus, Unison chorus - Digital Download SKU: C7.CGA939 Composed by Thomas H Troeger. General. With Organ, handbells (4 octaves), 2 Bb trumpets, 2 trombones, and French horn. Sacred Anthem. Octavo. 20 pages. Chorister's Guild - Digital #CGA939. Published by Chorister's Guild - Digital (C7.CGA939). UPC: 749193007655.This piece, using the well-known text from Ecclesiastes 3 opens with a quiet, reflective clarinet solo (piano optional). The choir joins in a soft, slow version of the melody that soon gives way to a lively 7/8 meter that supports a text celebrating joy, singing, and worshiping God. The anthem returns to the quiet, melancholy mood near the end of the work. It is the clarinet, however, that closes the piece with a shortened rendition of its opening material. Perfect for advanced children's choirs as well as two-part women's choirs.

Soprano Saxophone Solo - Level 1 - Digital Download SKU: A0.1183091 By Dirk Quinn Band. By Charles Borrelli and Roger Courtland. Arranged by Marcony Carvalho. 20th Century,March,Traditional. Individual part. 1 pages. Zedas Couve #782816. Published by Zedas Couve (A0.1183091). The Eagles' Victory Song was the creation of Charles Borrelli and Richard Courtland Harrison, a Washington, D.C. music teacher and arranger for jazz guitarist Charlie Byrd. The song was mistakenly credited to R. Courtland by the Copyright office and in various editions of Eagles programs from the late 1950s through the 1960s.In 1963, Jerry Wolman purchased the Philadelphia Eagles. Wolman was a sports fan growing up and loved hearing the Washington Redskins' fight song Hail to the Redskins at games. Spawning from his admiration for the Redskins' song, Wolman searched for musicians to implement a team song for the Eagles, and founded The Philadelphia Eagles' Sound of Brass band in 1964. The group included 200 musicians and dancers, and was led by Arlen Saylor, who was appointed as the Eagles' entertainment director in 1966 and is credited with penning an arrangement of the fight song that the band played at home games during halftime in the 1960s. Wolman's push to popularize the fight song flew under the radar, however, and in 1969 the Sound of Brass band was discontinued.The song came back into light in 1997, when Bobby Mansure, founder of an unofficial Eagles pep band, asked team management to allow the band to play in the parking lot during home games. Management gave Mansure's pep band an audition, allowing them to play at two preseason games to gauge fan reaction. The song went over so well that Mansure and the band retained a permanent position as the official Philadelphia Eagles Pep Band.In 1998, following Mansure's reintroduction of the song, Eagles management attempted to rebuild its popularity among fans by changing some aspects of the song: they modified the key, changed the opening lyric from Fight, Eagles Fight to Fly, Eagles Fly, and re-marketed the song with that as the title. In addition, they appended the popular E-A-G-L-E-S chant—which had emerged in the 1980s—to the end of the song. While management planned to play the song throughout the 1998 season, the Eagles' poor performance that year caused them to hold off reintroducing the song until the following year. The Eagles fared better during their 1999 season, and subsequently, the fight song was played after every score.

Voice and piano - Medium - Digital Download SKU: MQ.8492-28E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-28E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-28E). 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).

Bass Trombone,Instrumental Solo,Piano - Level 5 - Digital Download SKU: A0.1130164 Composed by Elizabeth Raum. Contemporary. Score and individual part. 17 pages. Gordon Cherry #730529. Published by Gordon Cherry (A0.1130164). Here is a brief description of this very fine new work, The Secret of Ben Søgen for Bass Trombone and Piano by the composer, Elizabeth Raum: I’ve always been fascinated by the Nordic heroes that appear in comic books and video games like Thor or Odin. Years ago, I wrote a concerto for tuba called The Legend of Heimdall inspired by Scandinavian folklore, and for this new work for bass trombone, I found myself drawn to the Danish mythical character, Ben Søgen. My concept was to conjure up a video game champion who goes through various adventures to achieve his final quest. However, the Secret of Ben Søgen is that he doesn’t exist. I made him up. My original title was Bone Quest, a pun on the word, trombone, combined with Quest but that didn’t evoke the image I wanted so I decided to create a character from the Danish translation of Bone Quest. Thus Ben Søgen. The Hero Bass Trombonist has a theme stated in the beginning, and this motif continues through a variety of backgrounds (or adventures) before the final major key of his goal being achieved. The work is about 7 minutes in length and appropriate for advanced performers. This work has been edited for bass trombone by Gordon Cherry.

Oboe Solo - Level 2 - Digital Download SKU: A0.1273278 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Individual part. 3 pages. Milanov #865428. Published by Milanov (A0.1273278). What Was I Made For? From Barbie by Billie Eilish for oboe. Easy intermediate. Chords.What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.

Oboe Solo - Level 2 - Digital Download SKU: A0.1273279 By Billie Eilish. By Billie Eilish O'Connell and Finneas O'Connell. Arranged by Milanov. Film/TV,Singer/Songwriter. Individual part. 3 pages. Milanov #865429. Published by Milanov (A0.1273279). What Was I Made For? From Barbie by Billie Eilish for oboe. Easy intermediate. What Was I Made For from Barbie by Billie Eilish is a melancholic ballad about feeling lost and uncertain about one's identity. The lyrics explore themes of existentialism, anxiety, and depression. The song's production is sparse and atmospheric, with Eilish's vocals taking center stage. The overall effect is a haunting and introspective track that will resonate with anyone who has ever felt lost or alone. The song ends with a sense of resignation, as Eilish sings, I guess I'll just keep on floating. However, the song's message is ultimately one of hope, as it suggests that even in the midst of uncertainty, there is still beauty to be found.

Voice and piano - Medium - Digital Download SKU: MQ.8492-33E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-33E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-33E). 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).