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Crtitères actifs :
1st Movement
PIANO
2 Pianos, 4 mains
Partitions à imprimer
26 partitions trouvées
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1
26
Beethoven - Piano Concerto No. 5 Op.73 Emperor - 1st Movement Liszt Arr.For 2 Pianos
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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Ludwig van Beethoven
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poon
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Beethoven - Piano Concerto No.
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poon
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1401758 Composed by Ludwig van Beethoven. Arranged by poon. Classical. Score. 121 pages. Poon #984943. P...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1401758 Composed by Ludwig van Beethoven. Arranged by poon. Classical. Score. 121 pages. Poon #984943. Published by poon (A0.1401758). Beethoven - Piano Concerto No. 5 Op.73 Â in E-flat Major Emperor - 1st Movement Liszt Arr.For 2 Pianos - Score and Parts.
$2.99
Mozart - Divertimento in D major, K.136/125a - 1st movement for 4 hands
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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poon
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Mozart - Divertimento in D maj
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poon
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1336672 Composed by Wolfgang Amadeus Mozart. Arranged by poon. Classical. Score. 12 pages. Poon #922444....
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1336672 Composed by Wolfgang Amadeus Mozart. Arranged by poon. Classical. Score. 12 pages. Poon #922444. Published by poon (A0.1336672). Mozart - Divertimento in D major, K.136/125a - 1st movement for 4 hands.
$1.99
Muzio Clementi Sonatine Op. 36 No. 1 Second Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743883 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 3 pages. Philip Kim #190030...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743883 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 3 pages. Philip Kim #1900307. Published by Philip Kim (A0.743883). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 3rd movements are uploaded separately as well as all 3 movements combined as a single file. Youtube link: https://youtu.be/5lqLu3VpCiE.
$7.00
Muzio Clementi Sonatine Op. 36 No. 4 Third Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743888 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 6 pages. Philip Kim #190043...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743888 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 6 pages. Philip Kim #1900431. Published by Philip Kim (A0.743888). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 2nd movements are uploaded separately as well as all 3 movements combined as a single file.
$7.00
F. Kuhlau Sonatine Op. 20 No. 1 Third Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Frederich Kuhlau
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Philip Kim
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F. Kuhlau Sonatine Op. 20 No.
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.743879 Composed by Frederich Kuhlau. Arranged by Philip Kim. Classical. Score. 11 pages. Philip Kim #190...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.743879 Composed by Frederich Kuhlau. Arranged by Philip Kim. Classical. Score. 11 pages. Philip Kim #1900279. Published by Philip Kim (A0.743879). I wrote a second piano part for this lovely sonatine by Kulau for my students to introduce them to chamber music. I hope you enjoy them as well. There are 1st and 2nd movements also and are uploaded separately. I have also uploaded all 3 movements of this sonatine as a single download. Youtube link: https://youtu.be/tYugVedixf4.
$7.00
Muzio Clementi Sonatine Op. 36 No. 4 Second Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743887 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 5 pages. Philip Kim #190042...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743887 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 5 pages. Philip Kim #1900429. Published by Philip Kim (A0.743887). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 3rd movements are uploaded separately as well as all 3 movements combined as a single file. Youtube link: https://youtu.be/7E9kW5jKRpQ.
$7.00
Muzio Clementi Sonatine Op. 36 No. 1 Third Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743884 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 4 pages. Philip Kim #190030...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743884 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 4 pages. Philip Kim #1900309. Published by Philip Kim (A0.743884). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 2nd movements are uploaded separately as well as all 3 movements combined as a single file. Youtube link: https://youtu.be/rZAYONZHKRo.
$7.00
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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IGNITE, Between the Octaves -
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074279. Published by Jenni Roditi (A0.1497866). Piano Duo - 2 pianos/4 hands. Ignite, Between the Octaves began with the impetus of static ‘pulsation’ (its original title) on repeated octaves. The piece is a fizzing dash of nodal vortices, small, then larger, spinning and tumbling and all the way to the finish line. This piece brings the complete suite of 7 pieces to a dynamic close, with a sense of ignition to new beginnings. The music echoes the opening F octaves of Initiate (movement 1). Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
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Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Bridge of Reflections - Movement 3 Allegro
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Contemporain
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Taylor J Hawkins
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Taylor J Hawkins
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Bridge of Reflections - Moveme
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Taylor J Hawkins
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1237866 By Taylor J Hawkins. By Taylor J Hawkins. Arranged by Taylor J Hawkins. 21st Century. Score. 15 ...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1237866 By Taylor J Hawkins. By Taylor J Hawkins. Arranged by Taylor J Hawkins. 21st Century. Score. 15 pages. Taylor J Hawkins #832236. Published by Taylor J Hawkins (A0.1237866).
$1.99
Bridge of Reflections - Movement 2 Andante
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Contemporain
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Taylor J Hawkins
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Taylor J Hawkins
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Bridge of Reflections - Moveme
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Taylor J Hawkins
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1237865 By Taylor J Hawkins. By Taylor J Hawkins. Arranged by Taylor J Hawkins. 21st Century. Score. 8 p...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1237865 By Taylor J Hawkins. By Taylor J Hawkins. Arranged by Taylor J Hawkins. 21st Century. Score. 8 pages. Taylor J Hawkins #832231. Published by Taylor J Hawkins (A0.1237865).
$1.99
Bridge of Reflections - Movement 1 Moderato
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Contemporain
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Taylor J Hawkins
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Taylor J Hawkins
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Bridge of Reflections - Moveme
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Taylor J Hawkins
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SheetMusicPlus
By Taylor J Hawkins. By Taylor J Hawkins. Arranged by Taylor J Hawkins. 21st Century. Score. 9 pages. Taylor J Hawkins #832228. Published by Taylor J ...
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By Taylor J Hawkins. By Taylor J Hawkins. Arranged by Taylor J Hawkins. 21st Century. Score. 9 pages. Taylor J Hawkins #832228. Published by Taylor J Hawkins
$1.99
Muzio Clementi Piano Sonatine Op. 36 No. 6 1st movement for 2 pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Methodes Etudes
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Muzio Clementi
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Philip Kim
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Muzio Clementi Piano Sonatine
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SheetMusicPlus
Composed by Muzio Clementi (1752-1832). Arranged by Philip Kim. Classical, Instructional, Standards. Score and parts. 10 pages. Philip Kim #5769535. P...
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Composed by Muzio Clementi (1752-1832). Arranged by Philip Kim. Classical, Instructional, Standards. Score and parts. 10 pages. Philip Kim #5769535. Published by Philip Kim
$8.00
Muzio Clementi Piano Sonatine Op. 36 No. 5 1st movement for 2 pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Methodes Etudes
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Muzio Clementi
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Philip Kim
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Muzio Clementi Piano Sonatine
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SheetMusicPlus
Composed by Muzio Clementi (1752-1832). Arranged by Philip Kim. Classical, Instructional, Standards. Score and parts. 9 pages. Philip Kim #5773197. Pu...
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Composed by Muzio Clementi (1752-1832). Arranged by Philip Kim. Classical, Instructional, Standards. Score and parts. 9 pages. Philip Kim #5773197. Published by Philip Kim
$10.00
Suite for two Pianos, Op. 20, 1st Movement, Waltz
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2 Pianos, 4 mains
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Contemporain
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David Cundy
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Suite for two Pianos, Op. 20,
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David Cundy
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SheetMusicPlus
Composed by David Cundy. 21st Century. Score. 17 pages. Published by David Cundy (S0.223583). - Score - 21st Century - David Cundy...
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Composed by David Cundy. 21st Century. Score. 17 pages. Published by David Cundy (S0.223583). - Score - 21st Century - David Cundy
$3.99
Suite for two Pianos, Op. 20, 3rd Movement, Tango del Sol
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2 Pianos, 4 mains
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Contemporain
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David Cundy
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Suite for two Pianos, Op. 20,
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David Cundy
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SheetMusicPlus
Composed by David Cundy. 21st Century. Score. 8 pages. Published by David Cundy (S0.223587). - Score - 21st Century - David Cundy...
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Composed by David Cundy. 21st Century. Score. 8 pages. Published by David Cundy (S0.223587). - Score - 21st Century - David Cundy
$3.99
Piano Concerto No. 6, Two Pianos/Four Hands
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Nathaniel Holland
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Piano Concerto No. 6, Two Pian
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James Nathaniel Holland
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1321769 Composed by James Nathaniel Holland. 21st Century,Classical,Contemporary. Score. 52 pages. James...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1321769 Composed by James Nathaniel Holland. 21st Century,Classical,Contemporary. Score. 52 pages. James Nathaniel Holland #910236. Published by James Nathaniel Holland (A0.1321769). 2 PIANOS/4 HANDS (Piano 2, Reduced Orchestra)  Number 6 of 21st century, American composer James Nathaniel Holland’s Piano Concertos for smaller orchestra and piano soloist.  This lively piece contains three distinct movements.  Movement one giggles and bubbles with triumphant glee;  movement 2, a quiet rocking; ending with movement 3, a neo-classical style with modern sensibilities.  Good for smaller hand, intermediate advanced level. (License or permission to perform may apply.)Instrumentation:  Fl, Ob, Cl Bb 1.2., Bsn, Hrn 1.2, Tpt, Trom, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal, high hat, bass drum, wood block) PIANO SOLOIST, StringsTwo Pianos/Four Hands, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.
$13.25
Piano Concerto No. 5, for Full Orchestra and Piano Soloist, Two Pianos/Four Hands
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2 Pianos, 4 mains
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AVANCÉ
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James Nathaniel Holland
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Piano Concerto No. 5, for Full
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James Nathaniel Holland
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1287203 Composed by James Nathaniel Holland. 21st Century,Contemporary. Score. 72 pages. James Nathaniel...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1287203 Composed by James Nathaniel Holland. 21st Century,Contemporary. Score. 72 pages. James Nathaniel Holland #878214. Published by James Nathaniel Holland (A0.1287203). TWO PIANOS/FOUR HANDS (Piano 2 is Orchestral Reduction)  The fifth of 21st century, Moonlight on the Seas, American composer James Nathaniel Holland’s Piano Concertos.  This colorful piece evokes moonlight and the sea. Movement one evokes a tempestuous storm with crashing and churning waves against the rocky coast.  Movement is maritime serenity and three returns to tempestuous emotions. (License or permission to perform may apply.)Instrumentation:  Fl 1.2., Ob, EH, Cl Bb 1.2., Bsn 1.2., Hrn 1.2.3., Tpt 1.2.3., Trom 1.2., Tba, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal,Snare, Bass Drum, Glockenspiel ) PIANO SOLOIST, Hrp., StringsTwo Pianos/Four Hands, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.
$13.99
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1st Movement
