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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
After Work
Sheetmusicplus
Non classifié
518
Piano & claviers
Piano, Voix
1 091
Piano seul
326
Orgue
40
Piano Facile
36
Piano, Voix et Guitare
27
Instruments en Do
16
1 Piano, 4 mains
10
Piano Trio: piano, violon, violoncelle
8
2 Pianos, 4 mains
7
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Accompagnement Piano
3
Orgue, Trompette (duo)
1
Clavecin
1
Clavier
1
+ 10 instrumentations
Retracter
Guitares
Guitare
69
Guitare notes et tablatures
25
Ukulele
6
Ligne De Mélodie, (Paroles) et Accords
4
2 Guitares (duo)
2
Piano, Guitare (duo)
2
Dulcimer
2
Guitare, Orchestre
1
Mandoline
1
2 Dulcimers (duo)
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
160
Chorale 3 parties
32
Chorale SSAA
15
Chorale TTBB
14
Chorale 2 parties
9
Voix Soprano, Piano
9
Chorale Unison
6
Chorale SSATTB
3
Voix Soprano
3
Chorale SSAATTBB
2
Voix seule
2
Soli, choeur mixte et accompagnement
2
Voix duo
2
Voix haute
2
Voix Alto, Piano
2
Voix moyenne, Piano
1
Voix Baryton, Piano
1
Chorale
1
Voix basse, Piano
1
Voix duo, Piano
1
Voix Mezzo-Soprano, Piano
1
Voix Baryton
1
Voix Tenor
1
Chorale SSATB
1
+ 19 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
62
Flûte traversière et Piano
56
Quatuor de Saxophones: 4 saxophones
42
Clarinette et Piano
42
Saxophone Alto et Piano
41
Quatuor de Clarinettes: 4 clarinettes
32
Saxophone Soprano et Piano
28
Hautbois, Piano (duo)
26
2 Saxophones (duo)
25
Flûte traversière
21
2 Flûtes traversières (duo)
18
2 Clarinettes (duo)
17
Clarinette
17
3 Saxophones (trio)
16
Flûte, Hautbois, Clarinette, Basson
16
Quintette de Saxophone: 5 saxophones
15
Quatuor de Flûtes : 4 flûtes
13
2 Flûte à bec (duo)
12
Saxophone Baryton, Piano
12
Saxophone Tenor et Piano
12
Cor anglais, Piano
9
Clarinette Basse, Piano
9
3 Clarinettes (trio)
8
Quintette de Clarinettes: 5 clarinettes
8
Flûte, Clarinette (duo)
7
Clarinette, Basson (duo)
7
Ensemble de Flûtes
6
Ensemble de Clarinettes
6
Flûte et Guitare
6
Saxophone, Clarinette (duo)
5
Quatuor de Flûtes à bec
5
Clarinette, Guitare (duo)
5
Saxophone Alto
5
Quintette de Flûte : 5 flûtes
5
Saxophone Tenor
4
Clarinette, Violon (duo)
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Hautbois, Basson (duo)
4
Saxophone (partie séparée)
4
Hautbois (partie séparée)
3
Clarinette (partie séparée)
3
Flûte à Bec
3
2 Hautbois (duo)
3
Trio de Flûtes: 3 flûtes
3
Clarinette, Trompette (duo)
3
Ensemble de saxophones
3
Clarinette et Alto
2
Ensemble De Flûte à bec
2
Flûte, Violon
2
Cor anglais, Guitare (duo)
2
3 Flûtes à bec (trio)
2
Flûte, Hautbois, Clarinette (trio)
2
Flûte, Saxophone (duo)
2
Hautbois, Flûte
2
5 Flûtes à bec
2
Clarinette Basse
1
Flûte irlandaise
1
Flute, alto, violoncelle et guitare
1
Piccolo, Piano
1
Ensemble de Hautbois
1
Flûte, Alto (duo)
1
Cornemuse
1
Flûte et Trio à cordes
1
Flûte, Violoncelle, Piano (trio)
1
Flûte à bec Soprano
1
Flute (partie séparée)
1
Saxophone et Guitare
1
Flûte, Hautbois (duo)
1
Flûte à bec Alto
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte traversière, Basse continue
1
Flûte à bec Tenor
1
Flûte, Trompette (duo)
1
Hautbois, Clarinette (duo)
1
2 Saxophones, Piano
1
+ 70 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
48
Quatuor de Cuivres : 2 trompettes, trombone, tuba
27
Trombone et Piano
26
Cor et Piano
22
Trompette
17
Euphonium, Piano (duo)
15
Trompette, Piano
14
Tuba et Piano
14
Ensemble de Trombones
14
Quatuor de cuivres: 4 trombones
11
Cor anglais, Piano
9
Trompette, Trombone (duo)
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Quatuor de Cuivres
5
Trombone
5
Trompette (partie séparée)
5
Ensemble de Trompettes
5
Cor (partie séparée)
4
2 Trombones (duo)
4
Trompette, Saxophone (duo)
4
Trombone (partie séparée)
4
3 Trombones (trio)
4
2 Trompettes (duo)
3
Cor
3
Ensemble de Cors
3
4 Tubas
3
2 Euphoniums et 2 Tubas
3
Quatuor de cuivres: 4 cors
2
2 Tubas (duo)
2
Trompette, Cor (duo)
2
Cor anglais, Guitare (duo)
2
Tuba (partie séparée)
2
2 Cors (duo)
2
Quatuor de cuivres: 4 trompettes
2
3 Euphoniums
1
3 Trompettes (trio)
1
Trombone basse et Piano
1
Cor, Violoncelle (duo)
1
Tuba
1
3 Tubas (trio)
1
3 Cors (trio)
1
Tuba et Orgue
1
Trio de Cuivres
1
Euphonium
1
Trombone basse
1
+ 40 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
92
Violon et Piano
66
Violoncelle, Piano
46
Violon
36
Alto, Piano
36
Violoncelle
24
Harpe
19
Violon, Violoncelle (duo)
17
2 Violons (duo)
11
2 Violoncelles (duo)
10
Violon, Alto (duo)
9
Alto seul
8
2 Altos (duo)
8
Contrebasse, Piano (duo)
7
Violon (partie séparée)
6
Trio à Cordes: violon, alto, violoncelle
6
Violon, Guitare (duo)
4
Alto, Violoncelle (duo)
4
4 Violoncelles
3
Alto (partie séparée)
3
Trio à cordes: 3 violins
3
Quatuor à cordes: 4 violons
3
Alto, Guitare (duo)
3
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes : 4 altos
3
Contrebasse (partie séparée)
3
Trio à cordes: 3 altos
3
Contre Basse
2
Harpe, Flûte (duo)
2
Violoncelle , Guitare (duo)
2
2 Harpes (duo)
2
Harpe, Voix
1
Violoncelle, Orchestre
1
4 Contrebasses
1
Trio à Cordes: 2 violons, violoncelle
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violon, Clarinette, Piano (trio)
1
+ 32 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
382
Orchestre
93
Orchestre à Cordes
59
Orchestre de chambre
29
Ensemble de cuivres
27
Ensemble Jazz
11
Ensemble de Percussions
5
Marimba
3
Cloches
3
Orchestre, Violon
3
Percussion (partie séparée)
2
Batterie
1
Piano et Orchestre
1
Vibraphone
1
Jazz combo
1
+ 10 instrumentations
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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…
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LIVRES
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MANDOLINE
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Vous avez sélectionné:
After Work
SheetMusicPlus
Partitions à imprimer
7 partitions trouvées
<
1
Concertino Barocco (after C.P.E. Bach and G.B. Pescetti)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Carl Philipp Emanuel Bach, Gio
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Kiyoshi Tamagawa
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Concertino Barocco
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Mastery for Strings Press
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.945464 Composed by Carl Philipp Emanuel Bach, Giovanni Battista Pescetti. Arranged by Kiyoshi Tamagawa. ...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.945464 Composed by Carl Philipp Emanuel Bach, Giovanni Battista Pescetti. Arranged by Kiyoshi Tamagawa. Baroque. Score. 12 pages. Mastery for Strings Press #5999147. Published by Mastery for Strings Press (A0.945464). The practice of adding an accompaniment to a composition originally created for a solo instrument is a time-honored tradition in Western art music, whether the additional music be for one or a few instruments or an entire ensemble. In the latter case a concerto movement can be fabricated from a solo work. The Concertino Barocco (Little Baroque Concerto) takes as its basis two pieces of the Baroque era that have long been popular repertoire for advancing students of the keyboard: the Solfeggio (or Solfeggietto) by C.P.E. Bach, and the third movement, Presto, from the Sonata in C minor by Giovanni Battista Pescetti. These works are transformed into two miniature concerto movements by adding and interpolating short tutti passages at various points in the form, rather in the style of Antonio Vivaldi. Not a note has been added or subtracted from the original keyboard solos, so that a student who has mastered the originals may play this Concertino simply by memorizing the exact points in the original pieces where additional music for the orchestra has been added and they must wait to continue.
$9.99
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
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AVANCÉ
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achieving the physical decline
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Germaine Tailleferre
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Germaine Tailleferre: Trois &E
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
Concerto for piano and orchestra No. 2
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2 Pianos, 4 mains
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Erik Chisholm
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Concerto for piano and orchest
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Schott Music - Digital
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SheetMusicPlus
2 pianos - SKU: S9.Q5862 Based on Hindustani themes. Composed by Erik Chisholm. This edition: piano reduction for 2 pianos. Downloadable, Piano r...
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2 pianos - SKU: S9.Q5862 Based on Hindustani themes. Composed by Erik Chisholm. This edition: piano reduction for 2 pianos. Downloadable, Piano reduction. Duration 30 minutes. Schott Music - Digital #Q5862. Published by Schott Music - Digital (S9.Q5862). The Piano Concerto No.2 was first performed in Cape Town in 1949 and in the following year was broadcast on the BBC Radio Third Programme. It was enthusiastically received by the critics, Ernest Newman writing of it ’I was particularly intrigued by the skill with which the composer has managed to fuse Hindustani modes of expression and European ways of thought and factors of design into a single organic whole. I was greatly intrigued by it’. It had many performances and broadcasts in the composer’s life time but after his death, was not heard again until 2007 when it was specially recorded for broadcast one evening in ‘Scotland’s Musicâ€, a BBC Radio Scotland’s series of weekly programmes. John Purser, writer and presenter of the series which ran for a year, comments ‘The Concerto emerges as a major achievement in terms of over-all conception, technical innovation and brilliance and superb handling of the orchestra’. The soloist, Dutch pianist Ronald Brautigam, said of his experience “It is a great privilege to be working on such a wonderful Concerto! I have completely fallen in love with the piece. The work is definitely challenging, but the wealth of musical ideas, the refinement of the slow movement, the humour and boisterousness of the finale make one forget that at times fingers need to be scraped off the keyboard’.
$25.99
Harmonic Spaces (four-hands piano)
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2 Pianos, 4 mains
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AVANCÉ
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Contemporain
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Paul SanGregory
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Harmonic Spaces
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Distant Engraver Music
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.977034 Composed by Paul SanGregory. Contemporary. Score. 29 pages. Distant Engraver Music #3536815. Publ...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.977034 Composed by Paul SanGregory. Contemporary. Score. 29 pages. Distant Engraver Music #3536815. Published by Distant Engraver Music (A0.977034). Each of these four short pieces has its own character, color and rhythmic flow. Because the interplay between parts is sometimes complex and challenging, they can provide wonderful ensemble workouts for performers as well as fun and exciting musical experiences for audiences. The title Harmonic Spaces refers to both the idea that they are musical spaces filled with colors and characters as well as to the widely-spaced harmonic intervals upon which those aspects are built. Each movement is based on one or two wide intervals that mimic the spacing of overtones (or partials) in the harmonic series. This approach allowed the composer to produce unique harmonies, colors and atmospheres. For listeners, of course, knowledge of these intervals isn't important, even though the colors, characters and atmospheres they produce is. Each movement is described briefly below: I - Simply and gracefully moving forward. (9th and 3rd partials)This gently flowing movement is a slow progression of widely-spaced chords with gracefully rising and falling strings of notes woven in and around them. The chords often appear in groups of two, with the second being quieter, like an echo of the first. That creates a sense of harmonic space within which the delicate lines move in and out of agreement with the chords.II - With a steady, even flow (or groove). (7th and 5th partials)The harmonic partials of this movement are what give dominant 7th chords their characteristic sound and function. Furthermore, because 7th chords are an important part of jazz harmony, jazz influences enter into this piece. Listeners may notice the outlines of gliding 7th chords, swinging meters and syncopated rhtyhms reminiscent of jazz.III - Gentle, flexible, but rhythmically accurate. (11th Partial)This movement unfolds slowly like a quiet summer afternoon under a shade tree watching lazy clouds. Because the 11th partial is a note that falls between the cracks of the piano keyboard, both the perfect 4th and augmented 4th (in very wide spacing) are used to approximate it. Although this creates some non-traditional harmonies and non-chord tone effects, the piece is tranquil, peaceful and beautiful. IV - With precision, energy and excitement. (13th Partial)This energetic finale uses much syncopation and rhythmic interplay as well as wide-ranging arpeggios that get shared between the two players. The primary interval often appears as widely spaced parallel motion, which adds a special color or flavor to the rhythms. The result is a joyful romp in a playground of rhythm, color, motion and contrast. (duration of all four pieces is ca. 12 minutes) This work was funded by the National Culture and Arts Foundation of Taiwan (ROC)
$10.00
Ø (Symbol)
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2 Pianos, 4 mains
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Gerald Barry
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Ø
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Schott Music - Digital
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SheetMusicPlus
2 pianos - SKU: S9.Q24703 For two pianos. Composed by Gerald Barry. This edition: Sheet music. Downloadable. Duration 7 minutes. Schott Music - D...
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2 pianos - SKU: S9.Q24703 For two pianos. Composed by Gerald Barry. This edition: Sheet music. Downloadable. Duration 7 minutes. Schott Music - Digital #Q24703. Published by Schott Music - Digital (S9.Q24703). Written in 1979 after seeing an exhibition of Rothko’s paintings in Cologne, Ø is one of Barry’s earliest published works. Both piano parts are the same and the composer describes the work as an exploration of ornamentation (the bending of an existing melody) and an etude in co-ordination (the challenge of playing exactly together).
$12.99
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
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
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