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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
All
Sheetmusicplus
Non classifié
61 751
Piano & claviers
Piano seul
23 762
Piano Facile
9 456
Piano, Voix
8 768
Piano, Voix et Guitare
6 648
Orgue
3 844
Piano grosses notes
3 452
Instruments en Do
2 789
Accompagnement Piano
1 000
1 Piano, 4 mains
778
Piano Trio: piano, violon, violoncelle
507
Accordéon
320
Piano (partie séparée)
261
2 Pianos, 4 mains
247
Piano Quatuor: piano, violon, alto, violoncelle
138
Orgue, Trompette (duo)
129
Clavier
86
Piano Quatuor: piano, 2 violons, violoncelle
72
Piano Quintette: piano, 2 violons, alto, violoncelle
71
Orgue, Piano (duo)
69
Clavecin
66
1 Piano, 6 mains
41
Tous Les Instruments
22
2 Pianos, 8 mains
18
Fake Book
10
Ensemble d'Accordéons
8
Orgue, Voix
3
2 Orgues (duo)
3
2 Accordéons
3
Accordéon, Corde(s)
3
Concertina
2
Accordéon et Orchestre
2
Ensemble de Pianos
1
Accordéon, Piano
1
+ 28 instrumentations
Retracter
Guitares
Guitare notes et tablatures
4 298
Guitare
2 520
Ligne De Mélodie, (Paroles) et Accords
1 631
Ukulele
1 153
Basse electrique
1 118
Paroles et Accords
856
Guitare (partie séparée)
436
Mandoline
269
2 Guitares (duo)
247
4 Guitares (Quatuor)
167
Dulcimer
161
Banjo
130
Piano, Guitare (duo)
117
3 Guitares (trio)
81
Ensemble de guitares
52
Basse électrique (partie séparée)
38
Mandoline, Piano (duo)
37
Guitare, Violon, Violoncelle (trio)
27
Ukulele Baryton
19
3 Dulcimers (trio)
16
Guitare Pedal Steel
15
2 Dulcimers (duo)
15
Mandoline, Guitare (duo)
14
Dobro
5
Ensemble de Ukulélés
5
2 Ukuleles
5
2 Mandolines (duo)
4
Guitare, Orchestre
3
Guitare, Flûte, Clarinette
3
Guitare, Quatuor à cordes
1
Orchestre à Plectres
1
Cithare
1
+ 27 instrumentations
Retracter
Voix
Chorale SATB
13 270
Chorale 3 parties
4 526
Chorale TTBB
2 873
Chorale 2 parties
2 674
Chorale Unison
2 000
Pack Instrumental pour Chorale
1 600
Chorale SSAA
1 579
Voix duo, Piano
583
Chorale
413
Voix Soprano, Piano
325
Voix duo
295
Voix haute
288
Voix Alto, Piano
249
Voix seule
223
Voix Tenor, Piano
204
Voix Baryton, Piano
180
Voix basse, Piano
81
Voix moyenne, Piano
75
Voix Tenor
62
Chorale SSATB
52
Voix Soprano
38
Chorale SSAATTBB
36
Chorale SSATTB
26
Voix d'Enfants
22
Soli, choeur mixte et accompagnement
22
Voix Mezzo-Soprano, Piano
21
Voix, Guitare
10
Chorale SSAB a cappella
10
Voix basse
9
Chorale SSAB, Piano
9
Chorale, Orgue
6
Chorale SSAATB
6
Chorale SAATB A Cappella
4
Voix Moyenne
4
Chorale SATBB
3
Voix haute, Piano
2
Chorale SATTBB A Cappella
2
Voix (avec Boîtes d'Accords)
1
Male Voice
1
Voix Baryton
1
Chorale SSAATB A Cappella
1
Voix Soprano, Orchestre
1
+ 37 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
2 962
Saxophone (partie séparée)
2 791
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2 758
Flûte traversière et Piano
2 545
2 Saxophones (duo)
2 332
Clarinette et Piano
2 098
Flûte, Hautbois, Clarinette, Basson
1 895
Hautbois, Piano (duo)
1 812
Flûte traversière
1 773
Clarinette
1 594
Saxophone Alto et Piano
1 576
Quatuor de Clarinettes: 4 clarinettes
1 549
2 Flûtes traversières (duo)
1 515
Saxophone Alto
1 342
2 Clarinettes (duo)
1 292
Saxophone Tenor et Piano
1 233
Saxophone Tenor
1 068
Quintette de Saxophone: 5 saxophones
1 019
Clarinette (partie séparée)
933
Hautbois (partie séparée)
868
Saxophone Soprano et Piano
846
Quatuor de Flûtes : 4 flûtes
770
3 Saxophones (trio)
612
Flute (partie séparée)
581
Flûte, Clarinette (duo)
577
3 Clarinettes (trio)
562
2 Hautbois (duo)
504
Saxophone Baryton, Piano
477
Ensemble de Clarinettes
467
Quintette de Clarinettes: 5 clarinettes
445
Ensemble de saxophones
391
Trio de Flûtes: 3 flûtes
380
2 Flûte à bec (duo)
369
Ensemble de Flûtes
357
Hautbois
344
Saxophone, Clarinette (duo)
344
Clarinette, Violon (duo)
331
Hautbois, Basson (duo)
325
Hautbois, Clarinette (duo)
281
Flûte, Violon et Violoncelle
273
Flûte et Guitare
254
Flûte, Violon
238
Clarinette Basse, Piano
234
Cor anglais, Piano
229
Quatuor de Flûtes à bec
220
Clarinette, Trompette (duo)
188
Saxophone Soprano
183
Flûte, Clarinette et Basson
179
Flûte à bec Soprano
170
Quintette de Flûte : 5 flûtes
169
Clarinette et Alto
163
Flûte, Hautbois, Basson
159
Flûte, Violon, Piano
148
Clarinette, Basson (duo)
147
Ocarina
144
Flûte, Alto (duo)
138
Flûte, Hautbois, Clarinette (trio)
136
Flûte à Bec
135
Hautbois, Flûte
135
Flûte, Saxophone (duo)
130
Flûte, Violoncelle
123
Flûte, Trompette (duo)
114
Saxophone Baryton
111
Flûte, Hautbois (duo)
111
Hautbois, Clarinette, Basson (trio d'anches)
102
Flûte à bec Alto
101
Harmonica
96
3 Flûtes à bec (trio)
95
Cor Anglais
95
Flûte, Clarinette, Piano (trio)
93
Clarinette, Guitare (duo)
90
Clarinette, Violoncelle (duo)
86
Flûte, Violoncelle, Piano (trio)
74
Hautbois, Violoncelle
71
Ensemble De Flûte à bec
70
5 Flûtes à bec
67
2 Flûtes traversières, Piano
65
Flûte, Hautbois, Piano (trio)
63
2 Clarinettes, Piano
59
Clarinette, Violoncelle, Piano (trio)
59
3 Hautbois
55
Flûte, Clarinette, Violon (trio)
53
Flûte, Violon, Violoncelle et Piano
52
2 Saxophones, Piano
49
4 Hautbois
48
Flûte, Basson et Piano
48
Flute, harpe et violon
45
Hautbois, violon (duo)
44
Flûte à bec Alto, Piano
43
Flûte à bec Soprano, Piano
43
Flûte, Alto et Piano
40
Clarinette Basse
40
Clarinette, Harpe (duo)
39
Flûte, Trombone (duo)
36
Flûte, alto et harpe
35
Clarinette, Trombone (duo)
34
Saxophone
32
Flûte, trombone et piano
30
Flûte à bec Tenor
30
Piccolo
29
Hautbois, Guitare (duo)
29
Flûte à Bec, Piano
29
Hautbois et alto (duo)
26
Piccolo, Piano
26
Instruments en Mib
23
2 Cors Anglais Et Pianoforte
20
Clarinette, Basson, Piano (trio)
20
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
19
Flûte irlandaise
19
Flûte, Clarinette, Cor, Basson (Quartet)
19
Cor anglais, Guitare (duo)
18
Flûte à bec Alto, Basse continue
17
Saxophone et Guitare
16
2 Clarinettes, Basson
15
Flûte, Violoncelle, Guitare
15
Clarinette, Alto et Piano (trio)
15
Flûte, Harpe et Violoncelle
14
Clarinette, trompette et piano
14
Hautbois, Trompette (duo)
14
Flûte et Trio à cordes
13
Saxophone et Orgue
13
Hautbois, Violon, Piano
13
Saxophone, Violon (duo)
12
Flûte traversière, Orgue (duo)
12
Quintette de Clarinette: Clarinette, Quatuor à Cordes
12
Flûte, Hautbois, Violon
11
Ensemble à vent
11
Hautbois, Violoncelle et Piano
11
Clarinette, Contrebasse (duo)
10
Hautbois, Clarinette et Piano (Trio)
9
Saxophone et Piano
9
Hautbois, Basson et Piano
8
Hautbois, Harpe
8
Saxophone et Harpe
8
Clarinette, Tuba
7
Flûte, Violon, Guitare
6
Hautbois, trombone (duo)
6
Cornemuse
5
Flûte, Tuba (duo)
5
Flûte de Pan
5
Flûte traversière, Basse continue
5
Hautbois, Violin, Alto et Violoncelle (Quatuor)
5
Flûte traversière, Orchestre
4
Clarinette, Orgue
4
Flute, Cor (duo)
3
2 Hautbois, Piano
3
Clarinette, Orchestre
3
Hautbois et Orchestre
3
2 Flûtes à bec, Piano
3
Ensemble de Hautbois
3
Flûte à bec, Guitare (duo)
3
Saxophone, Basson (duo)
2
2 Flûtes traversières, Harpe
2
3 Flûtes à bec, Piano
2
Saxophone, Tuba (duo)
2
Flûte à bec Soprano, Basse continue
2
Harmonica, Piano
2
Saxophone et violoncelle
2
Cor anglais et Harpe (duo)
1
Flûte et Quatuor à Cordes
1
Flûte, Alto et Violoncelle
1
Saxophone et Orchestre
1
2 Hautbois et Cor anglais
1
+ 158 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2 635
Trombone (partie séparée)
1 841
Trompette (partie séparée)
1 730
Trompette
1 618
Trompette, Piano
1 545
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1 504
Trombone et Piano
1 443
Trombone
1 207
Cor et Piano
1 103
Cor
984
2 Trompettes (duo)
714
2 Trombones (duo)
685
Tuba
621
Quatuor de Cuivres: 2 trompettes, Cor, trombone
602
Tuba et Piano
595
Quatuor de Cuivres
589
Cor (partie séparée)
563
Tuba (partie séparée)
400
2 Cors (duo)
395
Trompette, Trombone (duo)
390
Quatuor de cuivres: 4 trombones
355
Euphonium, Piano (duo)
273
Trompette, Saxophone (duo)
259
Cor anglais, Piano
229
Ensemble de Trombones
215
Quatuor de cuivres: 4 cors
198
2 Tubas (duo)
141
2 Euphoniums et 2 Tubas
129
Ensemble de Trompettes
124
Trompette, Cor (duo)
123
Euphonium
119
Trio de Cuivres
97
3 Trombones (trio)
95
Cor Anglais
95
4 Tubas
87
Tuba et Orgue
73
2 Euphoniums (duo)
59
Quatuor de cuivres: 4 trompettes
58
Ensemble de Cors
57
3 Trompettes (trio)
55
Bass Clef Instruments
48
Trombone, Tuba (duo)
43
Euphonium, Tuba (duo)
39
Trompette, Tuba (duo)
32
Trombone basse
30
Trombone basse et Piano
27
Quatuor de cuivres: 2 trompettes, 2 trombones
26
Trombone, Cor (duo)
25
Cor, Violoncelle (duo)
25
Tuba ou Euphonium ou Saxhorn
24
Cor, Tuba (duo)
23
Instruments en Sib
21
Cornet A Pistons
21
Trompette, Basson (duo)
21
Trompette, Violoncelle (duo)
20
2 Cors Anglais Et Pianoforte
20
Trompette, violon (duo)
19
Trompette, Trombone, Piano
19
Cor anglais, Guitare (duo)
18
2 Trompettes, Clavier (piano ou orgue)
17
Trombone, Orgue
16
Trombone, Violon (duo)
16
Trompette, Violoncelle et Piano
14
3 Cors (trio)
14
Trompette, Harpe
13
Trombone, violoncelle (duo)
13
Cor et Harpe
12
3 Tubas (trio)
12
2 Trombones, Piano
11
Cor et Basson (duo)
10
Clarinette, Cor (duo)
7
2 Cors, Piano
5
Euphonium (partie séparée)
5
Bugle
4
Cor et Orgue
4
Trompette et Guitare
3
Trombone et orchestre
3
Trombone, Alto (duo)
3
Cor, Violoncelle et Piano
3
3 Euphoniums
2
Instruments en Fa
2
Ensemble de Tubas
2
Trompette, Orchestre
2
Cor, Trompette, Trombone (trio)
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Cornet et orchestre
2
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
1
Cornet et Piano
1
Cor anglais et Harpe (duo)
1
Euphonium Ou Saxhorn Et Piano
1
Trompette, Euphonium (duo)
1
+ 86 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
7 575
Violon et Piano
3 386
Violon
2 772
Violoncelle, Piano
2 141
Violoncelle
1 926
Alto, Piano
1 885
Harpe
1 880
Violon, Violoncelle (duo)
1 680
Trio à Cordes: violon, alto, violoncelle
1 467
Alto seul
1 245
2 Violons (duo)
1 194
2 Violoncelles (duo)
904
Violon (partie séparée)
820
Quintette à cordes: 2 violons, alto, violoncelle, basse
779
2 Altos (duo)
707
Violon, Alto (duo)
703
Contre Basse
602
Contrebasse (partie séparée)
569
Contrebasse, Piano (duo)
563
Trio à Cordes: 2 violons, violoncelle
502
Alto (partie séparée)
422
2 Harpes (duo)
305
4 Violoncelles
263
Alto, Violoncelle (duo)
258
Violoncelle (partie séparée)
248
Trio à cordes: 3 violins
224
Piano Trio: Violon, Alto, Piano
164
Trio à Cordes: 3 violoncelles
155
Violon, Guitare (duo)
139
2 Contrebasses (duo)
132
Quatuor à cordes: 4 violons
122
Harpe, Flûte (duo)
103
Violoncelle , Guitare (duo)
91
Quatuor à cordes : 4 altos
90
Trio à cordes: 3 altos
81
Violoncelle, Contrebasse (duo)
79
Trio à Cordes: 2 violons, alto
76
Harpe, Violon (duo)
73
Violon, Basson (duo)
72
Trio à cordes
60
Alto et Basson
38
4 Contrebasses
37
Alto, Guitare (duo)
36
Quintette à cordes: 2 violons, 2 altos, violoncelle
34
Ensemble de Violons
32
Harpe, Voix
30
Violon, Clarinette, Piano (trio)
30
2 Violons, Piano
30
Harpe, Violoncelle (duo)
24
Ensemble d'Altos
23
Flûte, Contrebasse (duo)
21
2 Violoncelles, Piano
19
Quintette à cordes : 2 violons, alto et 2 violoncelles
18
Ensemble de Violoncelles
17
Harpe, Violon, Violoncelle
17
Alto et Harpe
16
Violon, Basse continue
15
3 Contrebasses
13
Violoncelle, Orgue
13
Harpe et Piano
11
3 Harpes
9
2 Altos, Piano
9
Violon, Orgue
8
Harpe (partie séparée)
8
Autoharp
6
Violon, Trompette et Piano
6
Violon, Tuba (duo)
6
Violon, Violoncelle, Clarinette
5
Harpe, Trombone (duo)
5
5 Harpes
5
Alto et orchestre
4
Violoncelle, Orchestre
4
Ensemble de Contre basses
3
Violoncelle, Basse continue
3
Harpe et Orgue
3
4 Harpes
3
2 Violons et Basse continue
2
Alto, Orgue
2
Harpe, Quatuor à cordes
1
Violon, Contrebasse (duo)
1
Harpe et mandoline
1
+ 76 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
16 380
Orchestre à Cordes
3 661
Orchestre
3 153
Ensemble Jazz
2 621
Fanfare
2 358
Cloches
1 750
Ensemble de cuivres
1 625
Percussion
1 378
Orchestre de chambre
1 113
Percussion (partie séparée)
918
Batterie
798
Jazz combo
670
Ensemble de Percussions
540
Batterie (partie séparée)
359
Marimba
206
Timbales (partie séparée)
122
Vibraphone
105
Xylophone
63
Xylophone, Piano
61
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
36
Timbales
32
Quintette à Vent
27
2 Xylophones
24
Caisse Claire
16
Instrumentation Flexible
12
Vibraphone et Marimba
8
Piano et Orchestre
8
Ensemble d'École
8
Xylophone (partie séparée)
7
Big band
6
Vibraphone (partie séparée)
6
Orchestre, Violon
6
3 Marimbas
5
Xylophone ou Marimba ou Vibraphone
4
Bongos
4
Vibraphone, Piano
4
Quintette de Cuivres: autres combinaisons
4
2 Marimbas
2
Trio à Vent: 3 instruments à vents
2
Marimba, Piano (duo)
2
Batterie-Fanfare
1
Marimba, Saxophone (duo)
1
3 Percussions
1
Conga
1
Voix et Orchestre
1
Voix Mezzo-Soprano, Orchestre
1
Marimba et Orgue
1
Marimba ou Xylophone et Piano
1
Quatuor à Vent : 4 instruments à vents
1
Cajon
1
2 Caisses Claires (duo)
1
+ 46 instrumentations
Retracter
Autres
Formation musicale - Solfège
9
Papeterie
7
Théorie de la musique
7
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
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Deck the halls - Christmas Carol - Polyphonic - Piano Duet (4 Hands)
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2 Pianos, 4 mains
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FACILE
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Noël
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Trad
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Thomas Graf
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Nos Galan
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Deck the halls - Christmas Car
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.568102 Composed by Trad. Arranged by Thomas Graf. 20th Century,Christmas. Score. 14 pages. Thomas Graf -...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.568102 Composed by Trad. Arranged by Thomas Graf. 20th Century,Christmas. Score. 14 pages. Thomas Graf - the-hit-factory.com #2835607. Published by Thomas Graf - the-hit-factory.com (A0.568102). Polyphonic arrangement of the traditional Christmas, yuletide, and New Years' carol. The melody is Welsh dating back to the sixteenth century, and belongs to a winter carol, Nos Galan. As played by the ORIGINAL DRACHENFELSER MUSIKANTEN on CD MERRY CHRISTMAS. Big fun to play! Not difficult! Instrumentation: Piano 4 Hands Listen to the recording - a challenge for your ensemble. Check out our latest uploads: http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N... Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic New catalog included (2016,9 pages) Video: https://www.youtu.be/AjYVrrNMRMI 2016 Easy Piano Contest Entry .
$5.00
French Ballet Class
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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George Gershwin
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Daryl McKenzie
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French Ballet Class
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Daryl McKenzie
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1120657 Composed by George Gershwin. Arranged by Daryl McKenzie. 20th Century,Film/TV. Score. 14 pages. ...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1120657 Composed by George Gershwin. Arranged by Daryl McKenzie. 20th Century,Film/TV. Score. 14 pages. Daryl McKenzie #721905. Published by Daryl McKenzie (A0.1120657). Arranged as a Piano Duet. Duration 1:06 French Ballet Class is a six-minute piece written by George Gershwin in 1937 for two pianos for the movie Shall We Dance. This sequence was meant to accompany a scene of dozens of ballet dancers practicing their positions. It is written in the style of the galop. Only two minutes of this music was used in the final film. This arrangement is just over 1 minute long. Same arrangement for single Piano and String Orchestra available.: https://bit.ly/3MKmYbo More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.comYoutube Playlist: https://bit.ly/3m0oUkH
$19.99
My Savior First of All
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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John R
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Makayla Stevenson
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My Savior First of All
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Makayla Stevenson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1077480 Composed by John R. Sweney. Arranged by Makayla Stevenson. Sacred,Spiritual,Traditional. Score. ...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1077480 Composed by John R. Sweney. Arranged by Makayla Stevenson. Sacred,Spiritual,Traditional. Score. 6 pages. Makayla Stevenson #681672. Published by Makayla Stevenson (A0.1077480). This arrangement features a straightforward setting of the hymn My Savior First of All, by beloved lyricist Fanny Crosby. Composed for the intermediate level, this two-piano duo allows both pianists opportunities to carry the melody and provide the beautiful harmonic structure. Perfect for church, recitals, special events, or personal enjoyment.
$6.99
World S Smallest Violin
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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AJR
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JRN Piano Duo
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World S Smallest Violin
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JRN Piano Duo
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1182892 By AJR. By Adam Metzger, Jack Metzger, and Ryan Metzger. Arranged by JRN Piano Duo. Contemporary...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1182892 By AJR. By Adam Metzger, Jack Metzger, and Ryan Metzger. Arranged by JRN Piano Duo. Contemporary,Pop,Singer/Songwriter. Score. 29 pages. JRN Piano Duo #782641. Published by JRN Piano Duo (A0.1182892). The popular song 'World's Smallest Violin' by AJR arranged and performed by the JRN Piano Duo on two digital pianos (with the help of some digital equipment). You will need a way to loop other instruments and percussion while playing and you need to be able to change your instruments while playing. In the video, a Maschine Mikro MK2 is used. The score includes a compact condensed score and a full orchestral score. Both conatin the same information but differently presented.
$5.99
The Rakes of Mallow
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Richard Simm
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Richard Simm
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The Rakes of Mallow
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1188789 By Richard Simm. By Richard Simm. Arranged by Richard Simm. Folk,Multicultural,Traditional,World...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1188789 By Richard Simm. By Richard Simm. Arranged by Richard Simm. Folk,Multicultural,Traditional,World. Score. 3 pages. Richard Simm #788405. Published by Richard Simm (A0.1188789). This is the final song in Richard Simm's collection of Five Irish Tunes for two pianos. In 1724 some hot springs were discovered in the Irish town of Mallow, which soon became a famous health resort. The Rakes in the title of this well-known polka were a group of young lads who preferred drinking other things than the supposedly health-giving water there, and this catchy tune gives an inkling of the fun and games that seem to have been their main goal in life...
$7.95
Sonata for Two Pianos, I. Allegro con Spirito, K.448 (arr. Owen Meldon)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Owen Meldon
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Sonata for Two Pianos, I. Alle
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Owen Meldon
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SheetMusicPlus
Percussion Quartet Marimba - Level 5 - SKU: A0.1214857 Composed by Wolfgang Amadeus Mozart. Arranged by Owen Meldon. Classical. 37 pages. Owen Meldon #8...
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Percussion Quartet Marimba - Level 5 - SKU: A0.1214857 Composed by Wolfgang Amadeus Mozart. Arranged by Owen Meldon. Classical. 37 pages. Owen Meldon #811788. Published by Owen Meldon (A0.1214857). I was a freshman in high school and just figured out how to use MuseScore. With a holiday concert on the horizon, I wanted to put together a fun arrangement of a classical piece for four percussionists. I settled on Mozart’s Sonata for Two Pianos in D Major (fun fact: this piece has been studied extensively and has proven epilepsy-combatting power!*) and broke down the four piano hands into four marimba parts. In December 2016, I premiered the first iteration of this arrangement with the help of three of my peers; years later, I revisited this arrangement and gave it some much-needed revisions. I also finished arranging the second half of the original, which I couldn’t do in 2016 as the first arrangement had to be fairly short. This is the arrangement in its new finished version, which definitely looks and sounds a lot better than the first. We all start somewhere… *Lin, Lung-Chang, et al. “The Long-Term Effect of Listening to MOZART K.448 Decreases Epileptiform Discharges in Children with Epilepsy.†Instrumentation:Marimba I (4.3 octave marimba minimum)Marimba II (4.3 octave marimba minimum)Marimba III (5.0 octave marimba)Marimba IV (5.0 octave marimba)Duration: c. 6'
$29.99
Great Balls Of Fire (film Cues)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Rock
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Great Balls Of Fire
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Harvus Sylvain
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Great Balls Of Fire
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sylvain harvus
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1335624 By Great Balls Of Fire. By Dennis W Quaid. Arranged by Harvus Sylvain. Rock. Score. 8 pages. Syl...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1335624 By Great Balls Of Fire. By Dennis W Quaid. Arranged by Harvus Sylvain. Rock. Score. 8 pages. Sylvain harvus #921460. Published by sylvain harvus (A0.1335624).
$8.00
I Shall Not Be Moved (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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FACILE
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Gospel Spirituel
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Musique Sacrée
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Sharon Wilson
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Sharon Wilson
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I Shall Not Be Moved
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565175 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Stan...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565175 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Standards,Traditional. Score. 13 pages. Sharon Wilson #3516203. Published by Sharon Wilson (A0.565175). This arrangement of the traditional spiritual I Shall Not Be Moved is presented here as a mixed level duet for two pianos, four hands. The PIANO 1 is the easier part (early-intermediate) and the PIANO 2 is slightly more challenging, though still only at the intermediate level. Both PIANO parts carry the melody at times beginning with PIANO 1 for the first chorus and verse. Bold and cheerful, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 6-page score with combined PIANO 1 and PIANO 2 parts on each page (the grand staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). Duration is just under 2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.The lyrics for this song were inspired by the words found in Psalm 1: Blessed is the man who doesn’t walk in the counsel of the wicked…but his delight is in Yahweh’s law…He will be like a tree planted by the streams of water… (WEB)Lyrics:I shall not be moved,I shall not be moved,I shall not be moved,Like a tree planted by the water,I shall not be moved.When my cross is heavy,I shall not be moved,When my cross is heavy,I shall not be moved,Like a tree planted by the water,I shall not be moved.
$5.99
Turkish March (Rondo Alla Turca)-Ragtime Piano Arrangement
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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Mozart
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Wolfgang Amadeus Mozart
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Chamal Rashmika
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Turkish March
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Chamal Rashmika
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.924343 Composed by Wolfgang Amadeus Mozart. Arranged by Chamal Rashmika. Baroque,Classical,Jazz,Ragtime,...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.924343 Composed by Wolfgang Amadeus Mozart. Arranged by Chamal Rashmika. Baroque,Classical,Jazz,Ragtime,Romantic Period. Score. 8 pages. Chamal Rashmika #3447325. Published by Chamal Rashmika (A0.924343). Original rangtime/Jazz piano arrangement for Piano duet/Piano/Piano accompaniment for the composition Rondo Alla Turca(Turkish march) By Mozart.
$4.00
Ghosts on the Loose - A Halloween Novelty - - two pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Halloween
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Paul Hemmer
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Ghosts on the Loose - A Hallow
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PJMS MUSIC
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.798362 Composed by Paul Hemmer. Halloween. Score and parts. 15 pages. PJMS MUSIC #6499257....
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Instrumental Duet Instrumental Duet,Piano - Level 3 - SKU: A0.798362 Composed by Paul Hemmer. Halloween. Score and parts. 15 pages. PJMS MUSIC #6499257. Published by PJMS MUSIC (A0.798362). Ghosts on the Loose for two pianos is a Halloween novelty that is fun to perform and will delight audiences. It is loaded with good musical humor and challenges the performers with abrupt dynamics.
$9.99
Mozart - Sonata for Two Pianos in D major, K.448/375a I. Allegro - For Piano Duet
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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 - Sonata for Two Pianos
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poon
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1414125 Composed by Wolfgang Amadeus Mozart. Arranged by poon. Classical. Score. 42 pages. Poon #995896....
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1414125 Composed by Wolfgang Amadeus Mozart. Arranged by poon. Classical. Score. 42 pages. Poon #995896. Published by poon (A0.1414125). Mozart - Sonata for Two Pianos in D major, K.448/375a 1st Movment I. Allegro - For Piano Duo four hands Score and Parts.
$1.99
Beethoven - Symphony No.5 in C Minor, Op. 67 IV.Allegro - For 2Piano 4hands - Original
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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poon
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Beethoven - Symphony No.5 in C
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poon
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1327809 Composed by Ludwig van Beethoven. Arranged by poon. Classical. Score. 54 pages. Poon #915852. Pu...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1327809 Composed by Ludwig van Beethoven. Arranged by poon. Classical. Score. 54 pages. Poon #915852. Published by poon (A0.1327809). Beethoven - Symphony No.5 in C Minor, Op. 67 IV.Allegro - For 2Piano 4hands - Original.
$1.99
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
Sonatina caballeresca para dos pianos
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2 Pianos, 4 mains
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Abraham Espinosa
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Sonatina caballeresca para dos
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Abraham Espinosa
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.942146 Composed by Abraham Espinosa. 20th Century,Romantic Period. Score. 36 pages. Abraham Espinosa #6089817. Pub...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.942146 Composed by Abraham Espinosa. 20th Century,Romantic Period. Score. 36 pages. Abraham Espinosa #6089817. Published by Abraham Espinosa (A0.942146). Sonatina caballeresca
$14.95
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
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
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
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
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
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
The Medallion Calls
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2 Pianos, 4 mains
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FACILE
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Contemporain
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Klaus Badelt
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Christian Bennedsen
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The Medallion Calls
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Christian Bennedsen
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SheetMusicPlus
Large Ensemble 2 Pianos,4 Hands,Digital Keyboard - Level 2 - SKU: A0.766907 Composed by Klaus Badelt. Arranged by Christian Bennedsen. Contemporary. Sco...
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Large Ensemble 2 Pianos,4 Hands,Digital Keyboard - Level 2 - SKU: A0.766907 Composed by Klaus Badelt. Arranged by Christian Bennedsen. Contemporary. Score and parts. 10 pages. Christian Bennedsen #6674849. Published by Christian Bennedsen (A0.766907). KEYBOARD ENSEMBLE – WORKSHOP FOR PIANO STUDENTS
$12.99
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
Reflections on a Winter's Morning
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2 Pianos, 4 mains
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AVANCÉ
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Matthew Nunes
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Reflections on a Winter's Morn
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Matthew Nunes Music
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1263486 Composed by Matthew Nunes. Chamber,Christmas,Classical. Score. 32 pages. Matthew Nunes Music #85...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1263486 Composed by Matthew Nunes. Chamber,Christmas,Classical. Score. 32 pages. Matthew Nunes Music #856450. Published by Matthew Nunes Music (A0.1263486). Listen to this piece hereCommissioned by James EhmerReflections on a Winter’s Morning is a piece especially composed for James Ehmer, a composer, euphonium player, and soon to be medical student, as a personal thank you for his generous donation to my “Get Matt to Maryland†Rally via rally.org. James came to me with two wonderful poems describing idyllic winter scenes and the awe of a morning’s sun. These instantly reminded me of the first mornings I would ever wake to snow fall. The two pianos share multiple roles in recalling these moments: the persistence of an alarm clock in a drowsy morning, the first few fluttering snowflakes, a child teeming with excitement, and finally the grandeur of the sun reigning over the flurry.Orlando, May 2014- Matthew Nunes.
$9.99
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