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ALTO
AUTOHARPE
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475
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378
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262
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246
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104
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34
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13
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11
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6
1 Piano, 4 mains
5
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3
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3
Piano Quatuor: piano, violon, alto, violoncelle
2
2 Pianos, 4 mains
2
Ligne De Mélodie, Piano
1
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1
+ 10 instrumentations
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295
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96
Guitare
32
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25
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24
Ukulele
23
Guitare (partie séparée)
7
2 Dulcimers (duo)
2
Dulcimer
2
Basse électrique (partie séparée)
2
Ensemble de guitares
1
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1
Banjo
1
Piano, Guitare (duo)
1
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144
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32
Chorale TTBB
25
Pack Instrumental pour Chorale
18
Voix seule
12
Chorale
7
Chorale 2 parties
6
Chorale SSAA
6
Voix haute
4
Voix basse
1
Voix Baryton, Piano
1
Voix Tenor
1
Voix Alto, Piano
1
Voix Tenor, Piano
1
+ 9 instrumentations
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87
Flûte traversière
57
Saxophone (partie séparée)
50
Clarinette
48
Clarinette (partie séparée)
28
Quatuor de Saxophones: 4 saxophones
23
Saxophone Alto
20
Flûte, Hautbois, Clarinette, Basson
18
Saxophone Tenor
17
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
14
Saxophone Alto et Piano
13
Flute (partie séparée)
13
Quatuor de Clarinettes: 4 clarinettes
12
Quintette de Saxophone: 5 saxophones
12
Flûte traversière et Piano
11
Quintette de Clarinettes: 5 clarinettes
9
Hautbois, Piano (duo)
8
Clarinette et Piano
7
Hautbois (partie séparée)
7
2 Saxophones (duo)
7
2 Flûtes traversières (duo)
6
Saxophone Tenor et Piano
6
Saxophone Baryton, Piano
5
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5
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4
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3
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3
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3
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3
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2
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2
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2
Flûte à bec Soprano, Piano
2
Flûte à Bec
2
3 Clarinettes (trio)
2
Ensemble de Flûtes
2
Saxophone Soprano
1
3 Saxophones (trio)
1
Flûte à bec Alto
1
Hautbois
1
Cor anglais, Piano
1
2 Hautbois (duo)
1
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1
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1
2 Flûte à bec (duo)
1
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52
Trompette
47
Trombone
44
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43
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37
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30
Cor (partie séparée)
16
Trombone et Piano
11
Cor
9
Tuba (partie séparée)
8
2 Trombones (duo)
8
Cor et Piano
6
2 Trompettes (duo)
5
Trompette, Piano
5
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4
Tuba et Piano
3
Quatuor de Cuivres
3
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3
2 Euphoniums et 2 Tubas
2
3 Trombones (trio)
2
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2
Instruments en Sib
2
Trompette, Trombone (duo)
2
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1
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1
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1
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1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
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1
Cor anglais, Piano
1
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1
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1
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1
4 Tubas
1
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28
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20
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12
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12
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10
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10
Alto, Piano
8
Violoncelle, Piano
7
Trio à Cordes: violon, alto, violoncelle
7
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5
2 Violons (duo)
4
2 Violoncelles (duo)
4
Contrebasse, Piano (duo)
3
Harpe
3
Violon, Violoncelle (duo)
3
Alto (partie séparée)
2
Trio à Cordes: 2 violons, violoncelle
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
2 Altos (duo)
1
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1
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117
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110
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42
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29
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27
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17
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12
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11
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11
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10
Big band
8
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5
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4
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2
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--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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2 Pianos, 4 mains
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Piano Quintet in A minor
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2 Pianos, 4 mains
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AVANCÉ
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Florence B
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Mena Williams (b
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Piano Quintet in A minor
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Mena C. Williams | The Unfinished Symphony
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1440150 Composed by Florence B. Price (1887-1953). Arranged by Mena Williams (b. 2002). 20th Century,Cla...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1440150 Composed by Florence B. Price (1887-1953). Arranged by Mena Williams (b. 2002). 20th Century,Classical. Score. 90 pages. Mena C. Williams | The Unfinished Symphony #1020099. Published by Mena C. Williams | The Unfinished Symphony (A0.1440150). In 1903, Florence B. Price (1887-1953) attended the New England Conservatory for piano, organ, and composition. When Price graduated from NEC in 1910, she returned to Arkansas, bringing music education to her hometown. Unfortunately, due to increased racially charged hostility within Little Rock, Arkansas, Florence Price and many other families who participated in the Great Migration moved to Chicago in 1927, where she found new musical studies and performance opportunities. The opportunity that launched Price’s musical career as a composer was when she won the Wanamaker Prize in 1932 for her Symphony in e minor and became the first Black woman composer to have a major orchestral work performed by an American orchestra. Four years later, Price composed Quintet in a minor for Piano and Strings. Within the Quintet, there are four movements, the “Allegro non troppo”, the “Andante con moto”, the “Juba”, and the “Scherzo”. Quintet in A Minor for Piano and Strings utilizes many of Florence Price’s trademark stylistic ideas, imbuing her music with harmonic freshness and a creative and organic structural approach as well as melodies that reflect her spiritual and cultural heritage, all stemming from how Price’s music brings together the European-classical tradition and African American spirituals and folk tunes. Florence Price was a deeply religious person who brought the music of the African American church and the influences of Romantic composers such as Dvořák and Tchaikovsky. Thus further resulting in the overall appeal of Price’s music. The captivating lyricism and juba (a dance that originated from plantation enslaved people in the Southern US) rhythmic devices.
$4.99
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.
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