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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
BASS Sonata
Non classifié
717
Piano & claviers
Piano seul
114
Piano Facile
5
Orgue
4
Accompagnement Piano
3
Accordéon
2
Piano, Voix et Guitare
1
2 Pianos, 4 mains
1
+ 2 instrumentations
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Guitares
Guitare
20
Guitare notes et tablatures
3
Basse electrique
2
Ukulele
1
2 Mandolines (duo)
1
Mandoline
1
+ 1 instrumentations
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Voix
Chorale SATB
1
Voix duo, Piano
1
Voix Mezzo-Soprano, Piano
1
Chorale 2 parties
1
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
112
Flûte traversière
88
Flûte, Clarinette et Basson
62
Flûte, Hautbois, Basson
56
Flûte, Hautbois, Clarinette, Basson
51
Flûte à bec Alto, Basse continue
46
2 Flûtes traversières (duo)
45
3 Clarinettes (trio)
39
3 Flûtes à bec (trio)
37
2 Clarinettes (duo)
34
Flûte traversière et Piano
33
Flûte traversière, Basse continue
31
Clarinette Basse, Piano
31
Hautbois, Basson (duo)
29
2 Clarinettes, Basson
28
Quatuor de Clarinettes: 4 clarinettes
27
Flûte à Bec
22
Hautbois, Clarinette, Basson (trio d'anches)
17
Clarinette, Basson (duo)
17
Flûte à Bec, Piano
15
Trio de Flûtes: 3 flûtes
13
Ensemble de Clarinettes
12
2 Flûte à bec (duo)
11
Clarinette et Piano
8
Flûte à bec Soprano, Basse continue
7
Quintette de Clarinettes: 5 clarinettes
7
Ensemble de Flûtes
7
2 Saxophones (duo)
6
Quatuor de Flûtes : 4 flûtes
5
Quatuor de Flûtes à bec
5
Flûte, Hautbois, Clarinette (trio)
5
Flûte et Guitare
5
Hautbois, Piano (duo)
5
2 Hautbois et Basson
4
Flûte à bec Soprano
4
2 Hautbois (duo)
4
2 Flûtes, Basse continue
4
Saxophone Soprano et Piano
3
Saxophone Alto et Piano
3
Quintette de Saxophone: 5 saxophones
3
3 Saxophones (trio)
3
Ensemble de saxophones
3
Flûte, Violon et Violoncelle
2
Clarinette (partie séparée)
2
Saxophone Tenor et Piano
2
Clarinette
2
Quatuor de Saxophones: 4 saxophones
2
Cor anglais, Piano
1
Saxophone Alto
1
Saxophone Baryton
1
2 Cors Anglais Et Pianoforte
1
Flûte, Basson et Piano
1
Flûte à bec Alto, Piano
1
2 Flûtes traversières, Piano
1
Flûte, Violon
1
Flûte à bec Soprano, Piano
1
Saxophone Baryton, Piano
1
Saxophone
1
Saxophone (partie séparée)
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Violoncelle
1
Ensemble De Flûte à bec
1
Ensemble à vent
1
+ 58 instrumentations
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Cuivres
Trombone et Piano
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Quatuor de cuivres: 4 trombones
6
Trombone basse et Piano
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Tuba et Piano
4
2 Trombones (duo)
4
Ensemble de Trombones
3
Euphonium, Piano (duo)
3
Trompette, Piano
3
Trompette (partie séparée)
2
Bass Clef Instruments
2
Trombone
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trompette, Trombone (duo)
2
3 Trombones (trio)
2
Cor anglais, Piano
1
2 Tubas (duo)
1
2 Euphoniums (duo)
1
2 Trompettes (duo)
1
2 Cors Anglais Et Pianoforte
1
Tuba
1
Cor et Piano
1
Trio de Cuivres
1
2 Cors (duo)
1
+ 20 instrumentations
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Cordes
Violon, Basse continue
42
Violoncelle, Basse continue
38
2 Violons et Basse continue
36
Violoncelle, Piano
31
Violon et Piano
29
Contrebasse, Piano (duo)
27
Violoncelle, Contrebasse (duo)
18
Quintette à cordes: 2 violons, alto, violoncelle, basse
18
Quatuor à cordes: 2 violons, alto, violoncelle
17
2 Violoncelles (duo)
15
Violon, Alto (duo)
15
Contre Basse
14
Violon, Basson (duo)
12
Violoncelle
12
2 Altos (duo)
11
2 Contrebasses (duo)
10
Contrebasse (partie séparée)
10
Trio à Cordes: violon, alto, violoncelle
9
Alto, Piano
8
Violon
8
Alto (partie séparée)
6
Violon (partie séparée)
5
Flûte, Contrebasse (duo)
5
2 Violons (duo)
4
Violon, Violoncelle (duo)
4
Alto seul
3
Alto, Violoncelle (duo)
3
Trio à Cordes: 2 violons, violoncelle
2
Violoncelle , Guitare (duo)
2
Violoncelle (partie séparée)
2
4 Contrebasses
1
Harpe
1
Harpe, Flûte (duo)
1
Trio à Cordes: 3 violoncelles
1
2 Violons, Piano
1
+ 30 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
27
Orchestre
23
Orchestre de chambre
17
Orchestre d'harmonie
13
Ensemble de cuivres
5
Ensemble de Percussions
2
Ensemble Jazz
2
Batterie
1
+ 3 instrumentations
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--INSTRUMENTS--
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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
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OCARINA
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ORGUE
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BASS Sonata
2 Pianos, 4 mains
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Sonata Hymnica No. 6
#
2 Pianos, 4 mains
#
INTERMÉDIAIRE/AVANCÉ
#
James Siddons
#
Sonata Hymnica No. 6
#
James Siddons Music and Writings
#
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.
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