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Il Est Né
Not classified 48

Piano & keyboards
Piano solo 96
Piano, Voice 12
Accordion 10
Easy Piano 9
Organ 6

Piano, Vocal and Guitar 5
Piano Accompaniment 2
1 Piano, 4 hands 2
Piano Trio: piano, violin, cello 1
C Instruments 1

+ 5 instrumentations

- Retract

Guitars
Guitar 3

Melody line, (Lyrics) and Chords 2
Plectrum Orchestra 1
Guitar notes and tablatures 1
Bass guitar 1

Voice
Choral SATB 29
Choral 3-part 6
Choral 2-part 4
Low voice, Piano 2
Choral SSAA 1

Choral TTBB 1
Voice, Basso continuo 1

+ 2 instrumentations

- Retract

Woodwind
Flute 14
Saxophone 14
Recorder 8
Saxophone Quartet: 4 saxophones 7
Clarinet 7

Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 4
Flute and Piano 4
Oboe, Piano (duet) 4
Clarinet and Piano 3
Tenor Saxophone 3
Alto Saxophone 3
Oboe 2
Tenor Saxophone and Piano 2
Alto Saxophone and Piano 2
English horn, Piano 2
Recorder Ensemble 1
Oboe, Clarinet, Bassoon (trio) 1
Saxophone and Organ 1
Treble (Alto) Recorder 1
Flute, Oboe, Clarinet, Bassoon 1
Clarinette, Viola and Piano (trio) 1
Flute, Clarinet and Bassoon. 1
Eb Instruments 1
Descant (Soprano) Recorder 1
Saxophone ensemble 1
Saxophone (band part) 1
3 Recorders (trio) 1
Oboe (band part) 1
Flute, Violoncello 1
Clarinet Quartet: 4 clarinets 1
Flute, Basso continuo 1
Flute, Violin 1
Clarinet Ensemble 1
Clarinet, Trumpet (duet) 1
Flute, Harp and Cello 1
Flute Quartet: 4 flutes 1

+ 31 instrumentations

- Retract

Woodbrass
Trumpet 7
Brass quartet : 2 trumpets, trombone, tuba 5
Trombone 5
Brass Quintet: 2 trumpets, horn, trombone, tuba 3
Tuba 2

Euphonium 2
French horn 2
Trumpet, Piano 2
English horn, Piano 2
Bb Instruments 1
Brass Trio 1
Trombone and Piano 1
French Horn and Piano 1
Brass Quartet: 4 horns 1

+ 9 instrumentations

- Retract

Strings
Violin 11
String Quartet: 2 violins, viola, cello 8
Cello 7
Viola 6
Violin and Piano 5

Double Bass 4
Harp 3
String Trio: violin, viola, cello 2
Viola, Piano 2
2 Cellos (duet) 2
Violin, Cello (duet) 1
Violin, Viola (duet) 1
Cello, Piano 1
Viola, Cello (duet) 1
Cello Ensemble 1
2 Harps (duet) 1
Piano Trio: Violin, Viola, Piano 1
2 Violas (duet) 1

+ 13 instrumentations

- Retract

Percussion & orchestra
Handbells 11
Orchestra 6
Percussion 6
Brass ensemble 3
String Orchestra 3

Concert band 3

+ 1 instrumentations

- Retract

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Il Est Né

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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 ≈ 3.55€

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 ≈ 7.15€

Lua para o Epilogo de Verão (Août)

Lua para o Epilogo de Verão (Août) #Guitar #ADVANCED #Contemporary #Louis Trépanier #Lua para o Epilogo de Verão #Les Productions d'OZ - Digital #SheetMusicPlus

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4088 Composed by Louis Trépanier. Score. 9 pages. Les Productions d'OZ - Digital #DZ 4088. Published by ...(+)

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4088 Composed by Louis Trépanier. Score. 9 pages. Les Productions d'OZ - Digital #DZ 4088. Published by Les Productions d'OZ - Digital (ZZ.DZ-4088). ISBN 9782898522055.August nights can be tinged with a bit of melancholy because the end of the summer approaches. The moon softly glows with nostalgia for a season passing us by. This mood seems to me folded into the Brazilian Bossa Nova, and the Brazilians? term ?saudade?; in this piece I offer up my tribute to one of my favourite composers, Radamés Gnattali (1906-1988), who wrote for every musical situation in his era in Brazil ? from the concert stage to the back alley, and everything in between. Lua para Epilogo de Verão, is dedicated to the Brazilian guitarist Fabio Zanon, who is both a great friend and a tremendous inspiration.This étude tackles solid chords and contrary motion in the left hand, and, like all the études in this collection, voice separation and phrasing. In measure 24 the guitarist must execute a diagonal barré, where the first finger covers position IV at the first string, and position V at the fifth string, hence the V/IV indication after the barré symbol. The practicalities of navigating through the different chord shapes and rhythms in the piece mean that not all notes can be held for their full, written value. Such discrepancies between the text and the playing are common in this style of music.Les nuits du mois d?août peuvent contenir une douce mélancolie, à savoir que la fin de l?été approche. La lune luit alors avec une nostalgie pour la saison qui est déjà en train de passer. Cette saveur me semble parfaitement miroitée dans les couleurs de la bossa nova brésilienne et le terme brésilien « saudade » ; dans cette pièce je vous offre mon hommage au style d?un de mes compositeurs préféré, Radamés Gnattali (1906-1988), qui a su créer des musiques pour tous les différents musiciens de ses années au Brésil, de la salle de concert, jusqu?à la ruelle. Lua para Epilogo de Verão est dédié au guitariste brésilien Fabio Zanon, un bon ami, et une grande inspiration.Cette étude travaille les accords plaqués et divers mouvements contraires à la main gauche, et, comme toutes les études de cette collection, la séparation de voix et le phrasé. À la mesure 24, on doit exécuter un barré en diagonal, où le premier doigt un est à la position IV à la première corde, et à la position V à la cinquième corde, d?où l?indication V/IV suivant le symbole du barré. Pour des raisons pratiques à naviguer les accords et les rythmes de cette pièce, vous verrez qu?il n?est pas toujours possible de tenir toutes les notes pour leur durée complète. Ces différences entre l?écriture et l?exécution sont courantes dans ce style de musique.

$5.95 ≈ 5.35€