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Piano, Voice 69
Piano solo 27
Piano, Vocal and Guitar 10
Organ 2
Piano Quartet: piano, violin, viola, cello 1

Piano Quintet: piano, 2 violins, viola, cello 1

+ 1 instrumentations

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Guitars
Guitar 3

Guitar notes and tablatures 2
Plectrum Orchestra 1

Voice
Choral SATB 21
Choral 3-part 2
Choral TTBB 2
Choral Unison 2
Choral 2-part 1

Soprano voice 1

+ 1 instrumentations

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Woodwind
Flute Quartet: 4 flutes 4
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 4
Saxophone Quartet: 4 saxophones 3
Flute ensemble 3
Saxophone ensemble 2

Clarinet Quartet: 4 clarinets 2
Alto Saxophone and Piano 1
Clarinet and Piano 1
Tenor Saxophone and Piano 1
Clarinet Ensemble 1
Flute and Piano 1
Soprano Saxophone and Piano 1
Baritone Saxophone, Piano 1
English horn, Piano 1
Flute, Basso continuo 1
Clarinet 1
Oboe, Piano (duet) 1

+ 12 instrumentations

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Woodbrass
Tuba and Piano 3
French Horn and Piano 1
Brass Quintet: 2 trumpets, horn, trombone, tuba 1
Trombone and Piano 1
English horn, Piano 1

Trumpet 1

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Violin and Piano 6
String Quartet: 2 violins, viola, cello 5
Violin 2
String Trio: 2 violins, cello 2
Viola, Piano 1

Viola 1
Violin, Cello (duet) 1
Viola (band part) 1
Harp 1

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Concert band 5
Orchestra 3
Brass ensemble 3
String Orchestra 2
Vibraphone 1

Chamber Orchestra 1

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He Knew

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Élégie

Élégie #Guitar #INTERMEDIATE #Contemporary #Francis Bebey #Ingrid Riollot #Élégie #Les Editions Doberman-Yppan #SheetMusicPlus

Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Ypp...(+)

Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est nÃ© Ã Douala en juillet 1929, dans une grande famille oÃ¹ son pÃ¨re, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunitÃ© d'aller Ã l'Ã©cole. Admirant son frÃ¨re aÃ®nÃ©, Marcel Eyidi Bebey, il s'est Ã©duquÃ©, s'est distinguÃ©, et a finalement reÃ§u une bourse pour passer son baccalaurÃ©at en France.Nous approchions de la fin des annÃ©es 1950 lorsqu'il est arrivÃ© Ã La Rochelle. Plus que jamais, dans cette France oÃ¹ les Africains Ã©taient regardÃ©s avec curiositÃ©, condescendance ou dÃ©dain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalaurÃ©at, puis s'est installÃ© Ã Paris oÃ¹ il a commencÃ© des Ã©tudes d'anglais Ã la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son mÃ©tier en France et aux Ã?tats-Unis.AprÃ¨s avoir travaillÃ© quelques annÃ©es comme reporter, il a Ã©tÃ© embauchÃ© en 1961 en tant que fonctionnaire international au DÃ©partement de l'information de l'UNESCO.ParallÃ¨lement, Francis a toujours Ã©tÃ© attirÃ© par la crÃ©ation musicale. Son activitÃ© diurne trÃ¨s sÃ©rieuse ne l'empÃªchait pas de frÃ©quenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique Ã la mode Ã cette Ã©poque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait Ã de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scÃ¨ne et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en Ã©coutant les cantates et les oratorios de Bach ou Handel que son pÃ¨re chantait au temple. Il s'est passionnÃ© pour la guitare, impressionnÃ© par les maÃ®tres espagnols et sud-amÃ©ricains, et a dÃ©cidÃ© d'apprendre Ã jouer de l'instrument lui-mÃªme.Il a commencÃ© Ã composer des piÃ¨ces pour guitare, mÃªlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivÃ© le directeur du Centre culturel amÃ©ricain (alors situÃ© dans le quartier de Saint-Germain Ã Paris), qui lui a offert l'opportunitÃ© de se produire devant un public. Francis y a donnÃ© son premier rÃ©cital de guitare (1963) devant un public hypnotisÃ©. Son premier album solo est sorti peu de temps aprÃ¨s.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le dÃ©crivait la presse, sont sortis. Il a Ã©galement Ã©crit des livres, au point que sa carriÃ¨re artistique est devenue difficile Ã concilier avec sa carriÃ¨re de fonctionnaire. En 1974, mÃªme s'il Ã©tait devenu le directeur gÃ©nÃ©ral chargÃ© de la musique Ã l'UNESCO, il a fait le saut audacieux et a dÃ©missionnÃ© de cette prestigieuse institution pour se consacrer aux trois activitÃ©s qui l'intÃ©ressaient : la musique, la littÃ©rature et le journalisme.Il a explorÃ© le patrimoine musical traditionnel du continent africain, notamment Ã travers le piano Ã pouce sanza et la musique polyphonique des pygmÃ©es d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en franÃ§ais !Le succÃ¨s a suivi. Francis Bebey a parcouru le monde : de la France au BrÃ©sil, du Cameroun Ã la SuÃ¨de, de l'Allemagne aux CaraÃ¯bes, ou du Maroc au Japon... la liste des pays oÃ¹ il a Ã©tÃ© invitÃ© Ã se produire, Ã donner des confÃ©rences ou Ã rencontrer des lecteurs est trÃ¨s longue. En plus de la reconnaissance publique, il bÃ©nÃ©ficiait de la reconnaissance de ses collÃ¨gues musiciens, tels que le guitariste John Williams ou le VÃ©nÃ©zuÃ©lien Antonio Lauro, qui l'ont invitÃ© Ã faire partie du jury d'un concours de guitare classique Ã Caracas.Sa vie Ã©tait le voyage d'un pionnier africain, un homme enracinÃ© dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalitÃ© continue de rÃ©sonner dans le monde entier depuis son dÃ©cÃ¨s Ã la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

$3.95 ≈ $5.32

Pluck for guitar

Pluck for guitar #Guitar #ADVANCED #Contemporary #Robert M #Pluck for guitar #Robert M. Greenberg #SheetMusicPlus

Solo Guitar - Level 5 - Digital Download SKU: A0.987853 Composed by Robert M. Greenberg. 20th Century. Individual part. 21 pages. Robert M. Greenberg #11...(+)

Solo Guitar - Level 5 - Digital Download SKU: A0.987853 Composed by Robert M. Greenberg. 20th Century. Individual part. 21 pages. Robert M. Greenberg #115407. Published by Robert M. Greenberg (A0.987853). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Duration: ca. 21 minutes Year of composition: 1996 Program Note: I. Toccata/Hands of Steel II. Strum/Serenade III. O Tanenbaum (Toccata reprise) IV. Two-Part Contention V. John Doe VI. True Pluck A number of years ago, the great English guitarist Julian Bream told David Tanenbaum - the dedicatee of tonight's premiere - not to premiere a guitar work unless he knew for a fact it was the composer's second guitar work. Sage advice. The guitar is an instrument that gives up its secrets to a non-guitar playing composer only reluctantly. Indeed, the timbral, digital and chordal subtleties of this most subtle and intimate instrument are truly understood by the guitarist only. Pity the outlander who composes for the guitar for the first time! With this last thought in mind I had, until last fall, managed to avoid writing a guitar piece. However, even the most abject compositional coward will relent when a musician like David Tanenbaum asks for a piece and offers his assistance and critical judgement in its composition. So it was with PLUCK, composed between November of 1995 and January of 1996. Bream's advice notwithstanding, PLUCK is my first guitar piece. Tanenbaum is brave. The title, PLUCK, thus refers to both the action of plucking strings as well as pluck - bravery, grit, true grit. PLUCK is written in six interrelated movements. The first movement, Toccata/Hands of Steel introduces much of the essential pitch and harmonic material of the piece, as well as Flamenco-style rasgueado strumming which, try as I might, I could not resist using. Movement two, Strum/Serenade, explains itself in its title. Movement three, O Tanenbaum (a designation for which David has forgiven me) reprises the Toccata and describes, well, a sort of musical tree (David has forgiven me for this, too). Two-Part Contention is a combatative, argumentative movement that pits the treble strings of the guitar against the bass. Movement 5, John Doe is a lyric and mysterious moment of rest before the manic finale. Movement 6, True Pluck, is a fast, furious and virtuosic finale. PLUCK is dedicated, with greatest respect and affection, to my friend David Tanenbaum. May he only want to play my second guitar piece.

$16.00 ≈ $21.54

Romance Anonimo (tremolo) for Classical Guitar

Romance Anonimo (tremolo) for Classical Guitar #Guitar #INTERMEDIATE/ADVANCED #Anon #Keith Terrett #Romance Anonimo #Keith Terrett #SheetMusicPlus

Solo Guitar - Level 4 - Digital Download SKU: A0.1441944 Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instruction...(+)

Solo Guitar - Level 4 - Digital Download SKU: A0.1441944 Composed by Anon. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 7 pages. Keith Terrett #1021937. Published by Keith Terrett (A0.1441944). Romance Anonimo for Guitar.This beautiful piece, known as Romance d'Amour, Anonymous Romance, Spanish Romance, Romance de Amor, Romanza among other names are a very well know piece. The composer is unknown.Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names. It is composed in the style of parlour music of the late 19th century in Spain or South America,History:The style of the piece is that of the parlour music of the late 19th century in Spain or South America. It has a closed three-part form, the first in the minor key and the second being in the major key, with the third part being a restatement of the first.The origins and authorship of the piece are unknown, hence 'anonimo'. It is thought to have been originally a solo instrumental guitar work from the 19th century, and has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Francisco Vicaria l Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. It has been suggested that doubts about its authorship may have been encouraged by a wish to avoid paying copyright fees and the desire of publishing companies to claim the lucrative copyright.Early recordings:The earliest recording of Romance is found on a cylinder from the Viuda de Aramburo label[3][4][5][6] featuring guitarists Luis and Simon Ramírez, which was made in Madrid sometime between 1897 and 1901. The work is titled Sort-Estudio para Guitarra por S. Ramirez. The name Sort, as it occurs on the cylinder's title, probably refers to Fernando Sor, as his surname is sometimes spelled Sort or Sorts. The recording may be heard on the Doremi CD release Tarrega, His Disciples, and Their Students (DHR-7996) and online at the UCSB Cylinder Audio Archive.Possible origins:An early publication of the work, known as Estudio para Guitarra de Rovira and attributed to Spanish guitarist Antonio Rubira,[13] was published by J.A. Medina e Hijo in Argentina before 1925 (probably in 1913, when the publisher ceased activities).Guitarist and composer Isaías Sávio (Montevideo, 1900 — São Paulo, 1977) published the work in 1959 with the title Romance de Amor (Estudo em Mi) Música de Antonio Rovira (Segunda metade do século XIX) He published information which cited Antonio Rubira as the author. (See Violào e Mestres Junio, 1966 / São Paulo, Brasil.Sávio gives information that Juan Pargas, who knew Rubira, gave the Estudio de Rovira to the guitarist Juan Valles in 1876 or 1878. Sávio mentions that the work became popular in Buenos Aires and began to be published by, among others, Spaniard Pedro Maza; and that the work appeared in the method of Pedro Mascaró y Reissig, published in Montevideo in 1919, with the title Conocido por Estudio de Rovira.Publishing company Ricordi of Argentina currently publishes the piece, and attributes authorship to Antonio Rubira.

$1.99 ≈ $2.68