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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSE
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CHORALE - CHAN…
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COR ANGLAIS
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FLUTE TRAVERSI…
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4 116
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1 958
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1 093
Piano, Voix et Guitare
904
Accordéon
750
Instruments en Do
614
1 Piano, 4 mains
85
Accompagnement Piano
72
Clavier
64
Piano (partie séparée)
63
Piano Trio: piano, violon, violoncelle
23
2 Pianos, 4 mains
20
Piano Quatuor: piano, violon, alto, violoncelle
16
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10
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9
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4
2 Pianos, 8 mains
4
Piano Quatuor: piano, 2 violons, violoncelle
3
Clavecin
2
2 Accordéons
1
+ 17 instrumentations
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Ligne De Mélodie, (Paroles) et Accords
7 188
Basse electrique
2 446
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1 745
Guitare notes et tablatures
829
Mandoline
605
Ukulele
171
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37
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32
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23
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20
Mandoline, Guitare (duo)
20
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16
Mandoline, Piano (duo)
14
4 Guitares (Quatuor)
9
Ensemble de guitares
6
3 Guitares (trio)
4
Guitare Pedal Steel
4
Dobro
3
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3
2 Mandolines (duo)
3
Ukulele Baryton
2
Luth
1
Orchestre à Plectres
1
Cithare
1
+ 20 instrumentations
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Chorale SATB
2 347
Voix seule
1 403
Chorale 3 parties
673
Chorale 2 parties
308
Chorale SSAA
301
Chorale TTBB
295
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206
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48
Voix duo, Piano
45
Voix Alto, Piano
44
Voix Tenor, Piano
37
Voix duo
32
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22
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21
Voix moyenne, Piano
10
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9
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8
Voix basse, Piano
5
Voix Soprano
3
Voix Mezzo-Soprano, Piano
3
Chorale SSAB, Piano
2
Voix Tenor
2
Chorale SSATTB
2
Chorale SSATB
2
Voix, Guitare
2
Voix Soprano, Orchestre
1
Chorale SSAATB
1
Soli, choeur mixte et accompagnement
1
+ 23 instrumentations
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Saxophone
5 088
Flûte traversière
2 389
Clarinette
2 328
Saxophone Alto
503
Saxophone Tenor
436
Saxophone (partie séparée)
405
Flûte à Bec
397
Flûte traversière et Piano
320
Clarinette et Piano
260
Quatuor de Saxophones: 4 saxophones
223
Hautbois
218
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
218
Hautbois, Piano (duo)
207
Flûte, Hautbois, Clarinette, Basson
168
Saxophone Alto et Piano
160
Saxophone Soprano
150
2 Flûtes traversières (duo)
142
Quatuor de Clarinettes: 4 clarinettes
111
Hautbois (partie séparée)
109
Saxophone Tenor et Piano
108
2 Saxophones (duo)
106
2 Clarinettes (duo)
101
Saxophone Soprano et Piano
87
Quintette de Saxophone: 5 saxophones
78
Quatuor de Flûtes : 4 flûtes
76
Ensemble de Clarinettes
69
Saxophone Baryton, Piano
58
3 Clarinettes (trio)
56
Ensemble de Flûtes
53
Quintette de Clarinettes: 5 clarinettes
42
Flute (partie séparée)
41
3 Saxophones (trio)
38
Trio de Flûtes: 3 flûtes
33
Flûte, Clarinette (duo)
32
Cor anglais, Piano
31
Flûte et Guitare
28
Ensemble de saxophones
26
Clarinette (partie séparée)
26
2 Hautbois (duo)
26
Clarinette Basse, Piano
23
Hautbois, Basson (duo)
21
Saxophone, Clarinette (duo)
20
Flûte, Hautbois, Clarinette (trio)
19
Quatuor de Flûtes à bec
18
Saxophone Baryton
15
Flûte à bec Soprano
15
Clarinette, Violon (duo)
14
Harmonica
14
Quintette de Flûte : 5 flûtes
11
Flûte, Clarinette et Basson
11
Clarinette, Trompette (duo)
10
2 Flûte à bec (duo)
10
Flûte, Violon, Piano
10
Flûte, Violon
9
Flûte, Violoncelle
9
Hautbois, Violoncelle
8
Ocarina
8
Hautbois, Flûte
8
Hautbois, Clarinette (duo)
7
Clarinette et Alto
7
Ensemble De Flûte à bec
7
Clarinette, Guitare (duo)
7
Flûte, Saxophone (duo)
6
Cor Anglais
6
Hautbois, Clarinette, Basson (trio d'anches)
5
Flûte, Trompette (duo)
5
Flûte, Alto (duo)
5
3 Flûtes à bec (trio)
5
Flûte, Trombone (duo)
4
Flûte, Clarinette, Piano (trio)
4
Clarinette, Trombone (duo)
4
Flûte irlandaise
4
Clarinette Basse
4
Flûte, Hautbois (duo)
4
Flûte traversière, Orgue (duo)
4
Clarinette, Violoncelle (duo)
4
2 Cors Anglais Et Pianoforte
3
Flûte, Hautbois, Basson
3
2 Clarinettes, Basson
3
Clarinette, Basson (duo)
3
Clarinette, Orgue
3
Flûte à bec Alto, Piano
3
Clarinette, Harpe (duo)
3
Hautbois, Harpe
2
Flûte, Clarinette, Violon (trio)
2
Cor anglais, Guitare (duo)
2
Flûte, Violon et Violoncelle
2
Saxophone et Harpe
2
Flûte, Basson et Piano
2
5 Flûtes à bec
2
Piccolo
2
Flûte, Violoncelle, Piano (trio)
2
Clarinette, Violoncelle, Piano (trio)
2
3 Hautbois
2
Flûte à bec Alto
2
Saxophone et Orgue
1
Flute, harpe et violon
1
Ensemble à vent
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Harpe et Violoncelle
1
Flûte, Violon, Violoncelle et Piano
1
Instruments en Mib
1
Flûte, Hautbois, Violon
1
Clarinette, Contrebasse (duo)
1
Hautbois, Basson et Piano
1
Clarinette, Tuba
1
Flûte de Pan
1
Hautbois, Guitare (duo)
1
Flûte à bec Soprano, Piano
1
Saxophone et Guitare
1
Saxophone, Tuba (duo)
1
Piccolo, Piano
1
+ 107 instrumentations
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Cuivres
Trompette
2 053
Trombone
1 919
Trombone (partie séparée)
327
Cor
295
Trompette (partie séparée)
251
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
217
Trompette, Piano
200
Tuba
194
Trombone et Piano
166
Euphonium
162
Cor et Piano
154
Quatuor de Cuivres : 2 trompettes, trombone, tuba
130
Tuba et Piano
77
Cor (partie séparée)
51
Tuba (partie séparée)
42
2 Trompettes (duo)
41
Quatuor de Cuivres: 2 trompettes, Cor, trombone
40
2 Trombones (duo)
34
Euphonium, Piano (duo)
33
Quatuor de Cuivres
32
Cor anglais, Piano
31
2 Cors (duo)
25
Quatuor de cuivres: 4 trombones
25
Ensemble de Trombones
20
Quatuor de cuivres: 4 cors
16
2 Tubas (duo)
16
Trompette, Trombone (duo)
16
3 Trombones (trio)
11
Trompette, Saxophone (duo)
9
Tuba et Orgue
9
Cor Anglais
6
Trompette, Cor (duo)
5
Euphonium, Tuba (duo)
5
2 Euphoniums et 2 Tubas
5
Ensemble de Cors
5
3 Trompettes (trio)
4
2 Cors Anglais Et Pianoforte
3
Ensemble de Trompettes
3
4 Tubas
2
Cor, Violoncelle (duo)
2
Cor anglais, Guitare (duo)
2
Trio de Cuivres
2
Trombone basse
2
3 Euphoniums
2
Trompette, Basson (duo)
2
Trombone, Tuba (duo)
2
Trompette, Euphonium (duo)
1
2 Euphoniums (duo)
1
Trompette, Violoncelle (duo)
1
Cor et Harpe
1
Cor, Trompette, Trombone (trio)
1
3 Tubas (trio)
1
Trombone et orchestre
1
Bass Clef Instruments
1
Instruments en Sib
1
Trombone basse et Piano
1
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Violon
1 523
Violoncelle
1 017
Alto seul
949
Quatuor à cordes: 2 violons, alto, violoncelle
874
Violon et Piano
398
Alto, Piano
257
Harpe
250
Violoncelle, Piano
243
Violon, Violoncelle (duo)
238
Contre Basse
165
Trio à Cordes: violon, alto, violoncelle
135
Trio à Cordes: 2 violons, violoncelle
113
Contrebasse, Piano (duo)
93
Contrebasse (partie séparée)
92
2 Violons (duo)
88
2 Violoncelles (duo)
84
Quintette à cordes: 2 violons, alto, violoncelle, basse
66
Violon, Alto (duo)
65
Violon (partie séparée)
60
Alto (partie séparée)
48
2 Altos (duo)
44
2 Harpes (duo)
42
2 Contrebasses (duo)
33
Alto, Violoncelle (duo)
24
Violoncelle, Contrebasse (duo)
22
4 Violoncelles
20
Trio à Cordes: 2 violons, alto
16
Violon, Guitare (duo)
16
Trio à cordes: 3 violins
15
Harpe et mandoline
14
Violoncelle (partie séparée)
10
Harpe, Violon (duo)
8
Trio à cordes: 3 altos
8
Trio à Cordes: 3 violoncelles
7
Piano Trio: Violon, Alto, Piano
7
Violon, Basson (duo)
5
Harpe, Voix
4
Harpe, Flûte (duo)
4
Autoharp
3
Ensemble d'Altos
3
Ensemble de Violons
2
Violon, Basse continue
2
Violon, Clarinette, Piano (trio)
2
2 Altos, Piano
2
Violoncelle , Guitare (duo)
2
Harpe, Violon, Violoncelle
2
Violon, Orgue
2
Alto, Guitare (duo)
1
Alto et Harpe
1
Quatuor à cordes: 4 violons
1
Harpe, Violoncelle (duo)
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
4 Contrebasses
1
Violoncelle, Basse continue
1
Violoncelle, Orchestre
1
Violoncelle, Orgue
1
Harpe et Piano
1
Flûte, Contrebasse (duo)
1
Alto et Basson
1
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1 953
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1 608
Ensemble Jazz
536
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422
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389
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237
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183
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176
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117
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69
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66
Jazz combo
65
Percussion
46
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20
Marimba
16
Vibraphone
13
Xylophone, Piano
11
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Xylophone ou Marimba ou Vibraphone
3
Quintette de Cuivres: autres combinaisons
3
Xylophone
3
Bodhran
2
Bongos
2
Instrumentation Flexible
2
Caisse Claire
2
Cajon
2
Vibraphone et Marimba
1
2 Xylophones
1
Marimba et Orgue
1
Orchestre, Violon
1
2 Marimbas
1
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Down the Line
2 Pianos, 4 mains
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1
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
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
#
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
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
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
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
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
Streight Lines
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Robert A
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Streight Lines
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Robert A. Howard
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.998855 Composed by Robert A. Howard. 21st Century,Chamber,Contemporary,Contest,Festival,Instructional. S...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.998855 Composed by Robert A. Howard. 21st Century,Chamber,Contemporary,Contest,Festival,Instructional. Score. 2 pages. Robert A. Howard #6224931. Published by Robert A. Howard (A0.998855). This graphic score composition 'Streight Lines' is deliberately entitled as such (and spelled that way) as a pun on Steve Reich's minimalist classic 'Eight Lines'. The work focuses on various straight lines, superimposed over traditional music staves. These give an implication of pitch, duration, and texture, and perhaps other elements, without being too specific. The score indicates the basic outline of musical contours on staves (thus always implying certain pitches). However, many elements, such as dynamics, and exact pitches and durations, are left for the performer to determine. The work remains accessible for the listener and is appropriate for most standards of pianist, including students and professionals.Variable durationRegistered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$2.49
Beauty And The Beast
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2 Pianos, 4 mains
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FACILE
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Celine Dion & Peabo Bryson
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Christian Bennedsen
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Beauty And The Beast
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Christian Bennedsen
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SheetMusicPlus
Large Ensemble 2 Pianos,4 Hands,Digital Keyboard - Level 2 - SKU: A0.766904 By Celine Dion & Peabo Bryson. By Alan Menken. Arranged by Christian Benneds...
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Large Ensemble 2 Pianos,4 Hands,Digital Keyboard - Level 2 - SKU: A0.766904 By Celine Dion & Peabo Bryson. By Alan Menken. Arranged by Christian Bennedsen. Broadway,Film/TV,Musical/Show. Score and parts. 12 pages. Christian Bennedsen #6674429. Published by Christian Bennedsen (A0.766904). KEYBOARDENSEMBLE – WORKSHOP FOR PIANO STUDENTSPurpose: Letpiano students experience how it is to play in an orchestra and follow aconductor.It isessential, that the students are well prepared and able to play their parts.Instruments:4–20 keyboards and 2 pianos / grandpianos.Part 1 and2 are played on keyboard by 1-5 students at early intermediate level.Part 4 and5 are played on keyboard by 1-5 (almost) beginners.Part 5 and6 are played on piano by students with good skills.
$12.99
His Eye Is On the Sparrow
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Musique Sacrée
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Charles H
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Carol Petersen
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His Eye Is On the Sparrow
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Carol Petersen
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1256149 Composed by Charles H. Gabriel. Arranged by Carol Petersen. Christian,Praise & Worship,Religious...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1256149 Composed by Charles H. Gabriel. Arranged by Carol Petersen. Christian,Praise & Worship,Religious,Soul. Score. 4 pages. Carol Petersen #849617. Published by Carol Petersen (A0.1256149). The 2-piano setting of this popular hymn creates interest musically with strong melody lines and brilliant, rhythmic chord structure. It is well suited for service music as prelude, offertory or postlude.
$5.00
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
Beethoven - Moonlight Sonata Duet Arrangement - (Key Map Tablature)
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2 Pianos, 4 mains
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FACILE
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Classique
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Ludwig van Beethoven
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John M
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Beethoven - Moonlight Sonata D
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Music Innovators Workshop
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.984714 Composed by Ludwig van Beethoven. Arranged by John M. Honeycutt. Romantic Period. Score. 6 pages....
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.984714 Composed by Ludwig van Beethoven. Arranged by John M. Honeycutt. Romantic Period. Score. 6 pages. Music Innovators Workshop #4357665. Published by Music Innovators Workshop (A0.984714). This is a duet arrangement for student and teacher. It is notated on a key map tablature. My students love it!This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group. (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.
$2.00
"A Youthful Vow" from An Icelandic Suite
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Ingunn Bjarnadóttir
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Richard Simm
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"A Youthful Vow" fro
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1135493 Composed by Ingunn Bjarnadóttir. Arranged by Richard Simm. 20th Century,Chamber,Classical,Fol...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1135493 Composed by Ingunn Bjarnadóttir. Arranged by Richard Simm. 20th Century,Chamber,Classical,Folk,Multicultural,World. Score. 2 pages. Richard Simm #735542. Published by Richard Simm (A0.1135493). The last song in this set was composed by Ingunn Bjarnadóttir, a uniquely gifted Icelandic woman who made up tunes from her earliest childhood without any formal musical training at all. Later, her husband wrote down the melodic lines, and she gradually came to the attention of Iceland's musical society, where her large output now commands great respect among those who know their country's cultural history. Her melodies lend themselves well to conventional harmonic treatment, yet their unique character has something ethereal about it, as if it refuses to be tied to the conventional rules of mere academic musical logic. This tune, for example, ends in a key very remote from its beginning, yet it follows a perfect logic of its own! The arranger is indebted to the composer's daughter for her generous permission to use Ingunn's lovely melody, Æskuheit.
$4.95
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
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AVANCÉ
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achieving the physical decline
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Germaine Tailleferre
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Germaine Tailleferre: Trois &E
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
Jazz Piano Concerto No 2 in Ab New York Tour by James Nathaniel Holland
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2 Pianos, 4 mains
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AVANCÉ
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James Nathaniel Holland
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Jazz Piano Concerto No 2 in Ab
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James Nathaniel Holland
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.730240 Composed by James Nathaniel Holland. Contemporary,Folk,Holiday,Jazz,Patriotic. Score. 56 pages. J...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.730240 Composed by James Nathaniel Holland. Contemporary,Folk,Holiday,Jazz,Patriotic. Score. 56 pages. James Nathaniel Holland #442965. Published by James Nathaniel Holland (A0.730240). (Duration: 25 minutes) 2 Pianos, 4 Hands (Revised 2018)James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles. In this second of his piano concerto, he blends jazz with sensitivity, rhythmic to lyrical. This concerto is entitled New York Tour because like the city that inspired it, it travels throughout times, musical neighborhoods and cultures. Great compliment in programming with Mozart piano concertos or Gershwin's Rhapsody in Blue to feature American classical composers. Newly revised (2018) with measure numbers and rehearsal letters that match the full score.YouTube presentation: https://www.youtube.com/watch?v=eAKDrGPLa3g Born and raised in Indiana, James Nathaniel Holland studied music at DePauw University, Vienna Austria, Interlochen National Music Camp and Indiana University (Bloomington, IN). At these schools many of his early pieces were premiered and performed, with one work being selected for main-stage production in the season. Moving to Los Angeles and then settling in New York, he performed professionally sometimes as a singer, sometimes as a pianist, sometimes as choral conductor. He composed incidental music for the stage. In 2002 he founded a composers collective where they showcased their work. He was one of the first composers to participate in the American Music Center's initial on-line library. The New Jersey Concert Opera and the Gay Men's Chorus of New Jersey also featured his comic operas and art songs. From 2005 he moved to Costa Rica where he organized concerts with visiting guest artists to present his chamber music to the public. Presently he lives in a castle in the central mountains of Costa Rica. Website: https://facebook.com/jamesnathanielholland/ YouTube Channel: https://www.youtube.com/user/composerjnholland
$9.95
Comfortably Numb
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Rock
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Pink Floyd
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Laura Poblete
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Comfortably Numb
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Laura Poblete
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.898274 By Pink Floyd. By David Gilmour and Roger Waters. Arranged by Laura Poblete. Rock. Score. 9 pages...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.898274 By Pink Floyd. By David Gilmour and Roger Waters. Arranged by Laura Poblete. Rock. Score. 9 pages. Laura Poblete #5312365. Published by Laura Poblete (A0.898274). This is a massive song, but luckily with a lot of repeating patterns, so it’s actually quite enjoyable to play. I make no attempts to accurately represent the guitar solo at the end of the song, but this arrangement is a pretty fun piano version, ideally with the top line either sung or played by a third hand/second track on the piano. View a tutorial of this arrangement on YouTube: https://youtu.be/z1_Nzk3-a78. Learn more at http://thebrokenpiano.com.
$5.99
Moscow Nights
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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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Moscow Nights
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1416730 By Richard Simm. By Soloviev-Sedoi. Arranged by Richard Simm. 20th Century,Folk,Multicultural,Wo...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1416730 By Richard Simm. By Soloviev-Sedoi. Arranged by Richard Simm. 20th Century,Folk,Multicultural,World. Score. 5 pages. Richard Simm #998394. Published by Richard Simm (A0.1416730). This lovely song has become a folk tune in its own lifetime. Â Composed in 1955 during the Soviet Russian Era, it achieved supreme worldwide popularity during the early 1960s, although the film for which it was originally composed has been forgotten. Â Exotic, atmospheric harmonies, along with a truly memorable melodic line, transcend national boundaries and attest to the genuine musical gifts of composer Vasily Solovyev-Sedoi. Here it is in Richard Simm's arrangement for 2 pianos.
$5.95
Scene from Gaelic Faram (Jig in Kiev) for 2 pianos (Piano 2 part)
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2 Pianos, 4 mains
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AVANCÉ
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Celtique/Irlandais
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John Pitts
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Maggie Chen).
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Scene from Gaelic Faram
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Intensely Pleasant Music
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.890709 Composed by John Pitts. Celtic,Contemporary,Folk,World. Score. 16 pages. Intensely Pleasant Music...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.890709 Composed by John Pitts. Celtic,Contemporary,Folk,World. Score. 16 pages. Intensely Pleasant Music #3424707. Published by Intensely Pleasant Music (A0.890709). Scene from Gaelic Faram (Jig in Kiev) is a 6-minute, note-filled, virtuosic piece inspired by British folksong, and includes adaptations of the Dargason jig and the reel Mary Mack, and starts with an attempt to capture some of the ornamented and decorated melody lines typical of Scottish bagpipes. The full 16-minute piece Gaelic Faram (Jig in Kiev) for 2 pianos and 2 percussionists was composed for the Kiev Piano Duo (Oleksandra Zaytseva and Dmytro Tavanets) for the Kiev Chamber Music Session Festival 2012. This new arrangement of a 6-minute scene from it, just for 2 pianos, was made in 2016 for the Australian Piano Duo (Vicky Yang & Maggie Chen).
$4.99
Whispering Hope (2 Piano Duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Septimus Winners
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Jonah Pierce Cain
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Whispering Hope
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Jonah Pierce Cain
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.926275 Composed by Septimus Winners. Arranged by Jonah Pierce Cain. Christian,Religious,Sacred,Spiritual...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.926275 Composed by Septimus Winners. Arranged by Jonah Pierce Cain. Christian,Religious,Sacred,Spiritual. Score. 8 pages. Jonah Pierce Cain #3538575. Published by Jonah Pierce Cain (A0.926275). Whispering hope is a hymn written by Septimus Winners in 1868. This arrangement has been rearranged for a two piano duet, with the performance time around 2:10. This piece portrays the beauty in the lyrics, with the graceful runs and fills in the treble lines.
$4.99
Mean
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Pop musique
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Taylor Swift
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Gary D
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you can tell me anything!
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Mean
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DR GARY D BELSHAW
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.796619 By Taylor Swift. By Taylor Swift. Arranged by Gary D. Belshaw (ASCAP). Pop. Score. 23 pages. DR G...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.796619 By Taylor Swift. By Taylor Swift. Arranged by Gary D. Belshaw (ASCAP). Pop. Score. 23 pages. DR GARY D BELSHAW #3062971. Published by DR GARY D BELSHAW (A0.796619). A Pop! Seriously! arrangement from Gary D. Belshaw Music. Price includes 2 copies of the score! Duration: about four and one-half minutes. As simple as may seem, this hit from Taylor Swift's 2010 album, Speak Now, makes for some awesome art music interaction among the four hands! Infused with energy, this is arranged with serious piano artistry in mind. The collaboration required for performing this is great preparation for students whose goals include the concerto repertoire. This will rapidly become a favorite for advanced intermediate students. Make the most of the contrasting dynamics, articulations, and phrasing. Write a review of this music here in Sheet Music Plus online. Follow us on Facebook and Twitter. Your reviews, views, opinions, experiences, and comments are always welcome and appreciated. Go ahead; you can tell me anything!
$7.99
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