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Front and Center - Conductor Score
Sheetmusic to print
12 sheet music found
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1
Oraison from Grande Symphonie Funebre for solo Trombone & Wind Ensemble
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Concert band
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ADVANCED
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Classical
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Hector Berlioz
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Jonathan Caldwell
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Oraison from Grande Symphonie
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Gordon Cherry
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SheetMusicPlus
Concert Band - Level 5 - Digital Download SKU: A0.1081716 Composed by Hector Berlioz. Arranged by Jonathan Caldwell. Romantic Period. Score and parts. 32...
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Concert Band - Level 5 - Digital Download SKU: A0.1081716 Composed by Hector Berlioz. Arranged by Jonathan Caldwell. Romantic Period. Score and parts. 32 pages. Gordon Cherry #685839. Published by Gordon Cherry (A0.1081716). To say Berlioz had a fondness for the sound of the Trombone would be an understatement. The section is front and center in almost all of his works. The Oraison from the Grande Symphonie Funèbre et Triumphale for solo Trombone & Wind Ensemble beautifully arranged by Jonathan Caldwell features a single trombonist accompanied by a Wind Ensemble in an expressive recitative and aria which stays very true to the original score. This solo is from the second movement titled Oraison Funèbre (Funeral Oration) and gives the soloist plenty of room for expressive playing. This beautiful movement is appropriate for advanced performers and is about 7-minutes in length.
$52.50
Duo for Marimba and Piano
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Mandolin, Piano (duet)
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ADVANCED
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Eleonor Sandresky
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Duo for Marimba and Piano
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Varsa Publishing
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Marimba,Piano - Level 5 - Digital Download SKU: A0.1043957 By Eleonor Sandresky. By Eleonor Sandresky. 20th Cen...
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Instrumental Duet,Piano Instrumental Duet,Marimba,Piano - Level 5 - Digital Download SKU: A0.1043957 By Eleonor Sandresky. By Eleonor Sandresky. 20th Century,Classical,Contemporary. Score and parts. 22 pages. Varsa Publishing #648659. Published by Varsa Publishing (A0.1043957). Duo for Marimba and Piano was composed in 1988 and was premiered that year at the North Carolina Composers' Symposium in Winston-Salem, North Carolina by Eric LeCain and the composer. A very early piece in Ms Sandresky's oeuvre, the piece has a distinctly minimalist feel that reflects her influences of the time. The piece was revised in 1992 to include an optional video component so that half of the duo was prerecorded and presented with the TV monitor in front of the piano where the soloist would normally be. This version was premiered at the Southeastern Center for Contemporary Art on a concert of Ms. Sandresky's compositions. It has since had the life it was originally intended, as a bravura concert piece for marimba and piano and has been performed in Australia and Poland, as well as the US.
$10.00
The Sorcerer’s Apprentice (Themes from) - Score & Parts
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Concert band
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INTERMEDIATE/ADVANCED
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Paul Dukas
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Travis Freshner
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The Sorcerer’s Apprentice
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NiceChart
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SheetMusicPlus
Concert Band - Level 4 - Digital Download SKU: A0.931998 Composed by Paul Dukas. Arranged by Travis Freshner. Film/TV,Romantic Period. Score and parts. 8...
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Concert Band - Level 4 - Digital Download SKU: A0.931998 Composed by Paul Dukas. Arranged by Travis Freshner. Film/TV,Romantic Period. Score and parts. 80 pages. NiceChart #4764621. Published by NiceChart (A0.931998). Dukas’ masterpiece was featured front and center in Disney’s Fantasia and creates a dark and whimsical atmosphere any time it’s played. This challenging arrangement is scored for Concert Band and will be sure to be a memorable selection in your program.
$80.00
Let It Snow! Let It Snow! Let It Snow!, Variations on: Score
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Concert band
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Jule Styne
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Jack Bullock
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Let It Snow! Let It Snow! Let
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Concert Band - Digital Download SKU: AX.00-PR-0004997 Score. Composed by Jule Styne. Arranged by Jack Bullock. Secular. Score. 24 pages. Alfred Mu...
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Concert Band - Digital Download SKU: AX.00-PR-0004997 Score. Composed by Jule Styne. Arranged by Jack Bullock. Secular. Score. 24 pages. Alfred Music - Digital Sheet Music #00-PR-0004997. Published by Alfred Music - Digital Sheet Music (AX.00-PR-0004997). UPC: 038081480220.This work is a favorite song wishfully heard at the beginning of the winter months. This setting offers a variety of different styles applied to the melody---serenade, jazz, waltz, and even a march, but keeping the wonderful melody front and center! Easy to sing and play---it is loved by all. (3:30).
$10.00
Dvorak Front and Center (Medley of A. Dvorak Pieces) for TROMBONE QUARTET
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Brass Quartet: 4 trombones
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ADVANCED
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Classical
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Antonin Dvorak
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P
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Dvorak Front and Center
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MusicPAD Music Publications
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.872914 Composed by Antonin Dvorak. Arranged by P.A. Drahozal. 20th Century,Concert,Folk,Roma...
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.872914 Composed by Antonin Dvorak. Arranged by P.A. Drahozal. 20th Century,Concert,Folk,Romantic Period,World. Score and parts. 18 pages. MusicPAD Music Publications #6057877. Published by MusicPAD Music Publications (A0.872914). This is a musically flowing compilation of several lighter selections authored by the legendary Antonin Dvorak and set for a trombone quartet. This challenging arrangement is the perfect addition to a college trombone recital or presentation piece. Lively, entertaining, engaging and full of beautiful counterpoint, Dvorak Front and Center is bound to be an audience pleaser from note one! Logically placed generous rehearsal markings are carefully set and a score is included to facilitate efficient preparation and rehearsal. There is an opportunity for an alto trombone double in the first part (not transposed). The first part does explore the very high register (triple D) but ossia notes are always included as an option. All parts are called upon for melodic playing as the lead line does move around. Thus, the 2nd and 3rd parts are called upon for a little high register playing too (not as high as the first though). Be advised- this is a challenging and very rewarding arrangement for advanced players. With the proper investment of time, Dvorak Front and Center will return rewards and accolades for your studious trombone quartet.
$12.99
Robert Buckley: Front and Center (COMPLETE) - concert band
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Concert band
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INTERMEDIATE
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Contemporary
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Robert Buckley
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Virtualsheetmusic
Instantly printable sheet music by Robert Buckley for concert band of MEDIUM skill level. / concert,festival
Instantly printable sheet music by Robert Buckley for concert band of MEDIUM skill level. / concert,festival
$79.99
Beach, Shutack: Front And Center (COMPLETE) - jazz band
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Jazz Ensemble
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INTERMEDIATE
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Jazz
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Beach, Shutack
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Virtualsheetmusic
Instantly printable sheet music by Beach, Shutack for jazz band of MEDIUM skill level. / jazz
Instantly printable sheet music by Beach, Shutack for jazz band of MEDIUM skill level. / jazz
$49.99
Dvorak Front and Center (medley of Antonin Dvorak pieces set for saxophone choir)
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Saxophone ensemble
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Classical
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Antonin Dvorak
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Peter A
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Dvorak Front and Center
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MusicPAD Music Publications
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SheetMusicPlus
Composed by Antonin Dvorak (1841-1904). Arranged by Peter A. Drahozal. Romantic Period, Classical Period, World, Folk. Score, Set of Parts. 35 pages. Published ...
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Composed by Antonin Dvorak (1841-1904). Arranged by Peter A. Drahozal. Romantic Period, Classical Period, World, Folk. Score, Set of Parts. 35 pages. Published by MusicPAD Music Publications (S0.31633). - Score,Set of Parts - Romantic Period,Classical Period,World,Folk - MusicPAD Music Publications
$14.90
Sonata No. 6 "Kharkiv", Op. 48
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Guitar
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ADVANCED
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Classical
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Konstantin Bliokh
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Sonata No. 6 "Kharkiv", Op. 48
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Les Productions d'OZ - Digital
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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...
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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 n° 6 Kharkiv pour guitare solo a été composée en 2021, à la fin du confinement lié au COVID-19. Ã? ce moment-là , ma famille et moi étions restés dans notre ville natale de Kharkiv (également connue sous le nom de Kharkov), en Ukraine, pendant près de deux ans. Nous considérions cette période de pandémie comme un désastre, mais nous avons réalisé plus tard que c'était en fait un moment plutôt heureux, car la guerre est arrivée dans notre pays quelques mois plus tard. Depuis 2022, une fraction considérable des 1,5 million de citoyens de Kharkiv ont quitté leur foyer, ceux qui sont restés vivent sous des attaques incessantes de missiles, et beaucoup ont été tués. Je voudrais dédier cette Sonate à la ville frontalière de Kharkiv et, surtout, à ses citoyens souffrant de la guerre.Pourtant, la musique de la Sonate n'a aucun programme spécifique. Ici, je donnerai un bref aperçu de ses principaux éléments de composition pour faciliter les interprétations futures.Les premier et quatrième mouvements de cette Sonate sont basés sur l'interaction entre le principe dodécaphonique et le centre tonal de sol majeur, naturel pour la guitare. En particulier, le premier mouvement est basé sur l'interaction de la triade de sol majeur Solâ??Siâ??Ré des cordes de guitare à vide 2â??3â??4, le motif ascendant 1 impliquant les notes Miâ??Fa#â??Laâ??Do# (à l'origine sur la première corde), et le motif descendant 2 utilisant les notes Miâ??Doâ??Sibâ??La (à l'origine sur la corde de basse 6). Ces éléments se complètent presque pour former douze tons (à l'exception du Fa manquant), et les motifs alternent avec des fragments ostinato où chaque note de la triade de sol majeur est déplacée pas à pas d'un demi-ton vers le haut ou vers le bas.Le deuxième mouvement est un Scherzo impliquant de nombreux demi-tons dans des accords accentués et des passages rapides, ainsi qu'un mouvement mélodique chromatique dans la voix de basse. Il est presque atonal dans certains fragments, mais a un centre tonal global de la mineur.Le troisième mouvement est un Adagio méditatif basé sur un thème composé dans l'échelle hexatonique Réâ??Miâ??Faâ??Sol#â??Laâ??Si et des accords ostinato impliquant les cordes de basse à vide Miâ??Laâ??Ré et le demi-ton Siâ??Do.Enfin, le quatrième mouvement est basé sur le thème dodécaphonique complet composé de deux phrases comprenant les motifs 1 et 2 du premier mouvement : Solâ??Faâ??Sibâ??Labâ??Doâ??Mibâ??Ré et Miâ??Siâ??Do#â??Laâ??Fa#. Ce thème est présenté dans ses formes prime et rétrograde. Il y a des dialogues entre la première corde, les basses et les cordes médianes à vide, similaires au premier mouvement. Ã? son apogée, le thème dodécaphonique est interprété en utilisant le mouvement parallèle de l'accord de sol majeur standard de la guitare avec les cordes médianes à vide sur douze positions.La Sonate a été créée en première et enregistrée (CD Naxos No. 8.574630) par le célèbre guitariste ukrainien Marko Topchii, qui a également vécu et étudié à Kharkiv. Je lui suis extrêmement reconnaissant pour l'interprétation brillante de cette pièce.Je suis très redevable envers Productions d'Oz d'avoir conservé mes notations originales là où celles-ci ne correspondent pas au style de l'éditeur.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
Élégie
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Guitar
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INTERMEDIATE
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Contemporary
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Ypp...
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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 né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à 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
Sonata #5 in B-flat minor
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Piano solo
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ADVANCED
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Contemporary
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James Domine
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Sonata #5 in B-flat minor
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Earth Music, Ltd.
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SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2...
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Piano Solo - Level 5 - Digital Download SKU: A0.976507 Composed by James Domine. 20th Century,Concert,Contemporary. Score. 31 pages. Earth Music, Ltd. #2081747. Published by Earth Music, Ltd. (A0.976507). This sonata is a solo transcription of the first movement of Domine’s Piano Concerto #1 in B-flat minor. The sonata begins with a slow introduction that juxtaposes two opposite harmonic realms represented by the interval of a diminished fifth. As the opening sequence drifts aimlessly through a cloud of amorphous sonorities, the principal theme is suddenly and aggressively thrust center stage by an angry theme marked Agitato. This theme wends its torturous way to the contrastingly quiet subordinate theme. An episode of melancholic discourse ensues, creating an air of confidential intimacy. The exposition ends with an elided dominant cadence which is left unresolved and that leads directly to the development section. Chord clusters built on hexachords provide a serialized variation on the principal theme. This tripartite antiphonal sequence works toward a culmination as the theme is expanded in rhythmic layers, finally reaching a cacophonic explosion. A retransition based on the slow introduction leads to the recapitulation, this time with alternating variations on the principal theme. After the lyrical restatement of the subordinate theme, the coda confronts us with a starkly bleak musical atmosphere that concludes with a fiery flourish. This transcription was made at the request of piano pedagogue Joanna Ezrin for Vera Weber, who has played it to great acclaim in numerous competitions and recitals.
$8.95
De La Chica: Experimentelle und unbestimmte Lieder Op. 9
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Piano, Voice
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Julián De La Chica
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De La Chica: Experimentelle un
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Vagabundo Music Publishing
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SheetMusicPlus
Piano,Vocal,Voice - Digital Download SKU: A0.1182309 Composed by Julián De La Chica. Classical,Opera,Spiritual. Score. 56 pages. Vagabundo Music Publi...
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Piano,Vocal,Voice - Digital Download SKU: A0.1182309 Composed by Julián De La Chica. Classical,Opera,Spiritual. Score. 56 pages. Vagabundo Music Publishing #782045. Published by Vagabundo Music Publishing (A0.1182309). MUSIC NOTES:How does Julián De La Chica materialize the question of “being†in sound? Through text and music as sound material: the choice of the German tongue as a philosophic language; in its sonority, the reference to the tradition of Lieder, a form where word and sound construct a system of meanings in search of the essential. Materializing it through sound, the works achieve this “concentration†of the essential, guided by the question of the “being.†But, how do they achieve it? Long phrases, almost Gregorian rhythmicity, recuperate the capacity for enunciation born of medieval liturgical chant and Buddhist mantras. The concentration of power in the invoked words – to enunciate is to make real what is invoked. The essence is enunciated in the concept, in the construction of the enunciations that constitute the exoskeleton of these songs. The sound materializes the concept; it is sound that creates reality. The sound is in the center of the congealed hurricane. A person that asks the question of “beingâ€, stops time. Their presence is now; only the now exists. That instant is nonetheless a whirlwind that in the meditative act stops in front of the asking person and contemplates their mortal state, unappealable: the state of mortality as illumination. — Susan Campos-Fonseca.
$55.00
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