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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
BASS
Non classifié
5 871
Piano & claviers
Piano seul
272
Piano, Voix
121
Piano, Voix et Guitare
57
Instruments en Do
28
Orgue
16
Accordéon
11
Accompagnement Piano
8
Piano Quatuor: piano, violon, alto, violoncelle
8
Piano Trio: piano, violon, violoncelle
6
2 Pianos, 4 mains
5
1 Piano, 4 mains
5
Orgue, Piano (duo)
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Facile
2
Orgue, Trompette (duo)
1
2 Pianos, 8 mains
1
1 Piano, 6 mains
1
+ 12 instrumentations
Retracter
Guitares
Basse electrique
627
Guitare
61
Guitare notes et tablatures
36
Basse électrique (partie séparée)
9
4 Guitares (Quatuor)
8
Ligne De Mélodie, (Paroles) et Accords
6
Piano, Guitare (duo)
5
Dulcimer
4
Ensemble de guitares
3
Ukulele
3
2 Dulcimers (duo)
3
Mandoline
2
Paroles et Accords
2
2 Guitares (duo)
2
Mandoline, Guitare (duo)
1
2 Ukuleles
1
Guitare, Orchestre
1
3 Guitares (trio)
1
+ 13 instrumentations
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Voix
Voix seule
352
Chorale SATB
320
Chorale TTBB
158
Chorale SSAA
103
Voix basse, Piano
46
Chorale 3 parties
43
Voix basse
11
Chorale 2 parties
10
Voix duo, Piano
8
Voix Tenor, Piano
6
Voix Alto, Piano
5
Chorale Unison
5
Voix haute
5
Voix duo
4
Voix Soprano, Piano
3
Voix Baryton, Piano
3
Voix moyenne, Piano
2
Voix Tenor
2
Voix Baryton
1
Chorale SATBB
1
Chorale SSAATTBB
1
Pack Instrumental pour Chorale
1
+ 17 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1 354
Flûte, Hautbois, Clarinette, Basson
734
Quatuor de Clarinettes: 4 clarinettes
443
Ensemble de Clarinettes
253
3 Clarinettes (trio)
168
2 Clarinettes (duo)
160
Ensemble de Flûtes
149
Hautbois, Basson (duo)
131
Ensemble de saxophones
129
Quintette de Clarinettes: 5 clarinettes
121
Flûte, Clarinette et Basson
108
Flûte, Hautbois, Basson
101
Quatuor de Flûtes : 4 flûtes
74
Quatuor de Saxophones: 4 saxophones
63
Hautbois, Clarinette, Basson (trio d'anches)
62
Flûte traversière et Piano
58
Clarinette Basse, Piano
57
Hautbois, Piano (duo)
56
Clarinette, Basson (duo)
56
Saxophone Tenor et Piano
52
2 Flûtes traversières (duo)
48
Clarinette (partie séparée)
39
Clarinette et Piano
37
Quintette de Saxophone: 5 saxophones
35
Saxophone Alto et Piano
33
Clarinette
29
3 Saxophones (trio)
27
Quintette de Flûte : 5 flûtes
26
Trio de Flûtes: 3 flûtes
23
Quatuor de Flûtes à bec
17
Flûte, Basson et Piano
16
2 Saxophones (duo)
15
Flûte traversière
15
Ensemble De Flûte à bec
12
Saxophone Soprano et Piano
11
Flûte à Bec
9
Saxophone Baryton, Piano
9
2 Clarinettes, Basson
8
Flûte, Clarinette, Cor, Basson (Quartet)
8
2 Flûte à bec (duo)
6
Saxophone Alto
6
Saxophone (partie séparée)
6
Flute (partie séparée)
5
Flûte traversière, Basse continue
4
Hautbois (partie séparée)
4
Flûte, Clarinette (duo)
4
Ensemble à vent
4
5 Flûtes à bec
4
Flûte, Hautbois, Clarinette (trio)
3
Saxophone, Clarinette (duo)
3
Clarinette, Violoncelle (duo)
3
2 Hautbois (duo)
3
Cor anglais, Piano
3
Clarinette, Trompette (duo)
2
Clarinette, Violon (duo)
2
Flûte et Guitare
2
Saxophone Tenor
2
Clarinette, Guitare (duo)
2
Flûte, Violon
2
Clarinette, Basson, Piano (trio)
2
Clarinette et Alto
2
Clarinette Basse
2
Hautbois, Flûte
2
Flûte, Violon et Violoncelle
2
2 Hautbois et Basson
2
2 Clarinettes, Piano
2
Hautbois, Clarinette (duo)
2
Flûte à bec Tenor
1
Flûte à bec Alto, Basse continue
1
Flûte, Saxophone (duo)
1
Flûte à bec Soprano
1
Flûte traversière, Orgue (duo)
1
Flûte, Harpe et Violoncelle
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Harmonica
1
3 Flûtes à bec (trio)
1
Saxophone Baryton
1
Saxophone, Basson (duo)
1
2 clarinettes, 2 bassons
1
Hautbois, Basson et Piano
1
Flûte à bec Alto, Piano
1
Saxophone
1
Flûte, Violoncelle, Piano (trio)
1
Saxophone et Guitare
1
Flûte, Trompette (duo)
1
+ 80 instrumentations
Retracter
Cuivres
Quatuor de cuivres: 4 trombones
139
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
136
Quatuor de Cuivres : 2 trompettes, trombone, tuba
61
Ensemble de Trombones
60
Trombone et Piano
58
Tuba et Piano
34
Cor et Piano
29
2 Trombones (duo)
24
2 Euphoniums et 2 Tubas
22
Trombone
21
Quatuor de cuivres: 4 cors
21
3 Trombones (trio)
20
Euphonium, Tuba (duo)
16
Trompette, Piano
15
Euphonium, Piano (duo)
15
Trombone basse
12
Trompette
11
Quatuor de Cuivres
10
Trombone basse et Piano
8
2 Cors (duo)
8
Trombone (partie séparée)
8
Cor et Basson (duo)
6
Trompette, Trombone (duo)
5
Trompette (partie séparée)
5
Tuba
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Cor
4
Cor (partie séparée)
4
4 Tubas
3
Trompette, Tuba (duo)
3
Ensemble de Cors
3
Ensemble de Trompettes
3
Trombone, Tuba (duo)
3
Cor anglais, Piano
3
Trio de Cuivres
2
Trompette, Saxophone (duo)
2
Euphonium
2
Bass Clef Instruments
2
Cornet et orchestre
1
Tuba (partie séparée)
1
Cor, Trompette, Trombone (trio)
1
3 Tubas (trio)
1
3 Cors (trio)
1
2 Trompettes (duo)
1
+ 39 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
265
Quintette à cordes: 2 violons, alto, violoncelle, basse
157
Contre Basse
113
Contrebasse, Piano (duo)
76
Contrebasse (partie séparée)
54
2 Violoncelles (duo)
48
Violon et Piano
48
Violoncelle, Piano
42
Trio à Cordes: violon, alto, violoncelle
39
Alto, Piano
39
Violon, Violoncelle (duo)
35
2 Contrebasses (duo)
29
Violoncelle, Contrebasse (duo)
28
Violoncelle
23
Violon
17
4 Violoncelles
13
Harpe
13
Violon, Alto (duo)
12
Trio à Cordes: 2 violons, violoncelle
11
Violon, Basse continue
11
4 Contrebasses
10
Quintette à cordes : 2 violons, alto et 2 violoncelles
9
Harpe, Violoncelle (duo)
8
Harpe, Violon (duo)
7
Alto et Harpe
7
Harpe, Flûte (duo)
6
2 Violons (duo)
6
3 Contrebasses
6
Alto, Violoncelle (duo)
5
2 Altos (duo)
4
Alto et Basson
4
Trio à Cordes: 3 violoncelles
4
Alto seul
4
Violoncelle, Basse continue
3
Violoncelle , Guitare (duo)
3
2 Harpes (duo)
2
Ensemble de Violons
2
Trio à cordes: 3 altos
2
Harpe, Voix
2
Alto (partie séparée)
2
Ensemble de Violoncelles
2
Ensemble d'Altos
2
Violoncelle (partie séparée)
2
Violon, Basson (duo)
1
Violon, Guitare (duo)
1
Flûte, Contrebasse (duo)
1
2 Violons et Basse continue
1
Trio à Cordes: 2 violons, alto
1
+ 43 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 020
Ensemble Jazz
1 018
Orchestre
745
Ensemble de cuivres
238
Jazz combo
228
Orchestre à Cordes
208
Fanfare
197
Orchestre de chambre
181
Batterie
52
Cloches
50
Ensemble de Percussions
30
Batterie (partie séparée)
11
Percussion (partie séparée)
7
Marimba
5
Vibraphone
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
3
Orchestre, Violon
2
Voix et Orchestre
1
Timbales (partie séparée)
1
Vibraphone et Marimba
1
Big band
1
Piano et Orchestre
1
+ 17 instrumentations
Retracter
Autres
Théorie de la musique
1
Instruments
ACCORDEON
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TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
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VIOLON
VIOLONCELLE
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METHODE : ETUDES
METHODE : TECHNIQUES
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1
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
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
#
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
#
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
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
#
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
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
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
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