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Because Of Him
Not classified 162

Piano & keyboards
Piano solo 59
Piano, Voice 57
Organ 7
Piano, Vocal and Guitar 5
C Instruments 3

1 Piano, 4 hands 2
Easy Piano 2
Piano Quintet: piano, 2 violins, viola, cello 1
Piano Quartet: piano, violin, viola, cello 1

+ 4 instrumentations

- Retract

Guitars
Guitar notes and tablatures 8
Guitar 3

Melody line, (Lyrics) and Chords 1
2 Guitars (duet) 1

Voice
Choral SATB 38
Choral 3-part 4
Choral TTBB 4
Vocal duet 2
Alto voice, Piano 2

Choral 2-part 2
Choral SSAA 1
Soprano voice, Piano 1
Tenor voice 1

+ 4 instrumentations

- Retract

Woodwind
Flute and Piano 16
Saxophone ensemble 14
Saxophone Quartet: 4 saxophones 14
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 14
2 Flutes (duet) 13

Saxophone Quintet: 5 Saxophones 12
Clarinet 10
Tenor Saxophone and Piano 10
Flute, Oboe, Clarinet, Bassoon 9
Oboe (band part) 9
Baritone Saxophone, Piano 8
Clarinet and Piano 8
Oboe, Piano (duet) 7
Alto Saxophone and Piano 7
Clarinet Quartet: 4 clarinets 6
Soprano Saxophone and Piano 5
Bass Clarinet, Piano 5
Alto Saxophone 4
Clarinet Ensemble 4
English horn, Piano 4
Tenor Saxophone 3
Flute ensemble 3
Flute Quartet: 4 flutes 2
Flute Quintet : 5 flutes 2
Piccolo, Piano 2
Clarinet, Cello, Piano (trio) 1
Recorder Quartet 1
Clarinet, Bassoon (duet) 1
Saxophone (band part) 1
Flute, Clarinet (duet) 1
2 Saxophones (duet) 1
2 Clarinets, Bassoon 1

+ 27 instrumentations

- Retract

Woodbrass
Brass quartet : 2 trumpets, trombone, tuba 17
Brass Quartet: 2 trumpets, horn, trombone 11
Brass Quintet: 2 trumpets, horn, trombone, tuba 8
Trombone and Piano 7
French Horn and Piano 6

Euphonium, Piano (duet) 5
Trombone ensemble 4
English horn, Piano 4
Trumpet 3
Trumpet, Piano 2
Trombone 1
Tuba and Piano 1
Brass Quartet: 4 trombones 1
Trumpet ensemble 1
Tuba ensemble 1
Brass Quartet 1

+ 11 instrumentations

- Retract

Strings
Violin and Piano 16
String Quartet: 2 violins, viola, cello 9
2 Violins (duet) 7
Cello, Piano 7
Viola, Piano 7

Harp 3
Viola ensemble 2
Violin 2
Violin ensemble 2
String Trio: violin, viola, cello 2
Cello 2
4 Cellos 2
2 Cellos (duet) 2
Viola 1
Violin, Cello (duet) 1
String Quintet: 2 violins, viola, cello, bass 1
String quartet: 4 violins 1
String Quartet : 4 violas 1

+ 13 instrumentations

- Retract

Percussion & orchestra
Concert band 28
Orchestra 7
Brass ensemble 5
String Orchestra 4
Jazz Ensemble 4

Chamber Orchestra 2
Percussion Ensemble 1
Drums 1
Handbells 1

+ 4 instrumentations

- Retract

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Because Of Him

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Etude No 10 opus 60 for Guitar

Etude No 10 opus 60 for Guitar #Guitar #INTERMEDIATE #Matteo Carcassi #Arte Nova Music Lab #Etude No 10 opus 60 for Guitar #Arte Nova Music Lab #SheetMusicPlus

Solo Guitar - Level 3 - Digital Download SKU: A0.742404 Composed by Matteo Carcassi. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards,W...(+)

Solo Guitar - Level 3 - Digital Download SKU: A0.742404 Composed by Matteo Carcassi. Arranged by Arte Nova Music Lab. Concert,Romantic Period,Standards,World. Individual part. 3 pages. Arte Nova Music Lab #3007597. Published by Arte Nova Music Lab (A0.742404). Carcassi was born in Florence, Italy, and first studied the piano, but learned guitar when still a child. He quickly gained a reputation as a virtuosoconcert guitarist.He moved to Germany in 1810, gaining almost immediate success. In 1815, he was living in Paris, earning his living as a teacher of both the piano and the guitar. On a concert tour in Germany in 1819, he met his friend Antoine Meissonnier for the first time. Also a famous guitarist, Meissonnier published many of Carcassi's works in his Paris publishing house. For Meissonnier he also arranged a number of popular songs for guitar that were originally written for piano, including works by ThÃ©odore Labarre and LoÃ¯sa Puget.From 1820 on, Carcassi spent the majority of his time in Paris. In 1823, he performed an extremely successful series of concerts in London that earned him great fame, both as a performing artist and as a teacher. However, in Paris, a long time passed before his talents were truly recognized, partly because of the presence of Ferdinando Carulli.Carcassi was in Germany again during autumn 1824. Afterwards he performed in London, where his reputation now gave him access to more prestigious concert halls. Finally he returned to Paris. For several years, he made concert trips from here to the most important cultural towns of Europe, including London. After a short return to performing in 1836, he quit his concert practice around 1840 and died in Paris in 1853. Taken from https://en.wikipedia.org/wiki/Matteo_Carcassi

$5.00 ≈ 4.52€

Sonata No. 6 "Kharkiv", Op. 48

Sonata No. 6 "Kharkiv", Op. 48 #Guitar #ADVANCED #Classical #Konstantin Bliokh #Sonata No. 6 "Kharkiv", Op. 48 #Les Productions d'OZ - Digital #SheetMusicPlus

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published b...(+)

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4244 Composed by Konstantin Bliokh. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4244. Published by Les Productions d'OZ - Digital (ZZ.DZ-4244). La Sonate nÂ° 6 Kharkiv pour guitare solo a Ã©tÃ© composÃ©e en 2021, Ã la fin du confinement liÃ© au COVID-19. Ã? ce moment-lÃ , ma famille et moi Ã©tions restÃ©s dans notre ville natale de Kharkiv (Ã©galement connue sous le nom de Kharkov), en Ukraine, pendant prÃ¨s de deux ans. Nous considÃ©rions cette pÃ©riode de pandÃ©mie comme un dÃ©sastre, mais nous avons rÃ©alisÃ© plus tard que c'Ã©tait en fait un moment plutÃ´t heureux, car la guerre est arrivÃ©e dans notre pays quelques mois plus tard. Depuis 2022, une fraction considÃ©rable des 1,5 million de citoyens de Kharkiv ont quittÃ© leur foyer, ceux qui sont restÃ©s vivent sous des attaques incessantes de missiles, et beaucoup ont Ã©tÃ© tuÃ©s. Je voudrais dÃ©dier cette Sonate Ã la ville frontaliÃ¨re de Kharkiv et, surtout, Ã ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spÃ©cifique. Ici, je donnerai un bref aperÃ§u de ses principaux Ã©lÃ©ments de composition pour faciliter les interprÃ©tations futures.Les premier et quatriÃ¨me mouvements de cette Sonate sont basÃ©s sur l'interaction entre le principe dodÃ©caphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basÃ© sur l'interaction de la triade de sol majeur Solâ??Siâ??RÃ© des cordes de guitare Ã vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (Ã l'origine sur la premiÃ¨re corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (Ã l'origine sur la corde de basse 6). Ces Ã©lÃ©ments se complÃ¨tent presque pour former douze tons (Ã l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato oÃ¹ chaque note de la triade de sol majeur est dÃ©placÃ©e pas Ã pas d'un demi-ton vers le haut ou vers le bas.Le deuxiÃ¨me mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentuÃ©s et des passages rapides, ainsi qu'un mouvement mÃ©lodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisiÃ¨me mouvement est un Adagio mÃ©ditatif basÃ© sur un thÃ¨me composÃ© dans l'Ã©chelle hexatonique RÃ©â??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse Ã vide Miâ??Laâ??RÃ© et le demi-ton Siâ??Do.Enfin, le quatriÃ¨me mouvement est basÃ© sur le thÃ¨me dodÃ©caphonique complet composÃ© de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??RÃ© et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thÃ¨me est prÃ©sentÃ© dans ses formes prime et rÃ©trograde. Il y a des dialogues entre la premiÃ¨re corde, les basses et les cordes mÃ©dianes Ã vide, similaires au premier mouvement. Ã? son apogÃ©e, le thÃ¨me dodÃ©caphonique est interprÃ©tÃ© en utilisant le mouvement parallÃ¨le de l'accord de sol majeur standard de la guitare avec les cordes mÃ©dianes Ã vide sur douze positions.La Sonate a Ã©tÃ© crÃ©Ã©e en premiÃ¨re et enregistrÃ©e (CD Naxos No. 8.574630) par le cÃ©lÃ¨bre guitariste ukrainien Marko Topchii, qui a Ã©galement vÃ©cu et Ã©tudiÃ© Ã Kharkiv. Je lui suis extrÃªmement reconnaissant pour l'interprÃ©tation brillante de cette piÃ¨ce.Je suis trÃ¨s redevable envers Productions d'Oz d'avoir conservÃ© mes notations originales lÃ oÃ¹ celles-ci ne correspondent pas au style de l'Ã©diteur.Sonata No. 6 Kharkiv for guitar solo was composed in 2021, in the end of the COVID-19 lockdown. At that time my family and I were staying in our home city of Kharkiv (also known as Kharkov), Ukraine for almost two years. We considered that pandemic period as a disaster, but later have realized that it actually was a rather happy time, because a war came to our homeland just a few months later. Since 2022 a considerable fraction of the 1.5 millions of Kharkiv citizens have left their homes, those who stayed have been living under ceaseless missile attacks, and many have been killed. I would like to dedicate this Sonata to the frontier city of Kharkiv and, most of all, to its citizens suffering from the war.Yet, the music of the Sonata does not have any specific program. Here I will give a brief overview of its main composition elements to facilitate future interpretations.The first and fourth movements of this Sonata are based on the interplay between the twelve-tone principle and the G-major tonal center, natural for the guitar. Namely, the first movement is based on the interaction of the G-major triad Gâ??Bâ??D of the open guitar strings 2â??3â??4, ascending motif 1 involving the notes Eâ??F#â??Aâ??C# (originally on the first string), and descending motif 2 using the notes E-â??Câ??Bbâ??A- (originally, on the bass string 6). These elements supplement each other to almost make up twelve tones (apart from the missing F), and the motifs alternate with ostinato fragments where each note in the G major triad is step-by-step moved by a semitone up or down.The second movement is a Scherzo involving numerous semitones in accented chords and fast passages, as well as chromatic melodic motion in the bass voice. It is almost atonal in some fragments, but has an overall tonal center of A-minor.The third movement is a meditative Adagio based on a theme composed within hexatonic scale Dâ??Eâ??Fâ??G#â??Aâ??B and ostinato chords involving open bass strings Eâ??Aâ??D and semitone Bâ??C.Finally, the fourth movement is based on the complete twelve-tone theme consisting of two phrases including motifs 1 and 2 from the first movement: Gâ??Fâ??Bbâ??Abâ??Câ??Ebâ??D and Eâ??Bâ??C#â??Aâ??F#. This theme is presented in its prime and retrograde forms. There are dialogues between the first string, basses and open middle strings, similar to the first movement. In the culmination, the twelve-tone theme is performed using the parallel motion of the standard guitar G-major chord with open middle strings across twelve positions.The Sonata was premiered and recorded (CD Naxos No. 8.574630) by the prominent Ukrainian guitarist Marko Topchii who has also lived and studied in Kharkiv. I am extremely grateful to him for the brilliant performance of this piece.I am greatly indebted to Productions dâ??Oz for keeping my original notations in places where these do not conform to the publisherâ??s style.

$7.95 ≈ 7.19€

Edwin Culver: a bridge a-way, exits within (for solo guitar)

Edwin Culver: a bridge a-way, exits within (for solo guitar) #Guitar #INTERMEDIATE #Contemporary #Edwin Culver #Edwin Culver: a bridge a-way, #Edwin Culver #SheetMusicPlus

Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #434...(+)

Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you canâ€™t fully understand no matter how hard you try? Perhaps itâ€™s something from our past that we never invited...or something weâ€™ve missed in our closest relationships, maybe itâ€™s just the dread weâ€™ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like weâ€™re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. Thereâ€™s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. Weâ€™re spinning our wheelsâ€¦But one of the interesting things about great minimalist music is that itâ€™s not merely about repetition. I donâ€™t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mindâ€™s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer canâ€™t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument heâ€™s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesnâ€™t feel like weâ€™re making headway whenever weâ€™re having to crawl out of our skin - until, suddenly, when itâ€™s all over. And you hear this towards the end of the piece, when thereâ€™s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One Iâ€™ve put my trust in, because I canâ€™t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.

$11.99 ≈ 10.84€