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ACCORDEON
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AUTOHARPE
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PIANO & CLAVIERS
Piano seul
429
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189
Piano, Voix et Guitare
182
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135
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49
Orgue
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Accompagnement Piano
13
2 Pianos, 4 mains
10
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Piano Trio: piano, violon, violoncelle
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Piano (partie séparée)
4
1 Piano, 4 mains
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GUITARES
Guitare notes et tablatures
108
Guitare
57
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38
Paroles et Accords
29
Ligne De Mélodie, (Paroles) et Accords
28
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14
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8
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3
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169
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41
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24
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15
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14
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12
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12
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6
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6
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4
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2
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2
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1
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1
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1
Voix basse
1
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1
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1
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1
Voix Tenor
1
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Clarinette
55
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51
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51
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42
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42
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38
Clarinette et Piano
35
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30
Hautbois, Piano (duo)
30
Saxophone Tenor
27
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27
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24
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24
Flûte, Hautbois, Clarinette, Basson
22
2 Saxophones (duo)
13
2 Flûtes traversières (duo)
13
Quatuor de Flûtes : 4 flûtes
12
Ensemble de Clarinettes
12
2 Clarinettes (duo)
11
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10
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8
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8
2 Hautbois (duo)
8
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6
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6
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6
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6
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5
Flute (partie séparée)
5
Clarinette, Violon (duo)
5
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5
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4
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4
2 Clarinettes, Piano
4
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4
Clarinette, Guitare (duo)
4
Flûte et Guitare
4
Hautbois, Clarinette (duo)
4
Flûte, Violon
4
Flûte, Saxophone (duo)
3
3 Clarinettes (trio)
3
Clarinette Basse, Piano
3
2 Hautbois, Piano
3
Flûte, Trompette (duo)
2
Hautbois
2
Flûte à bec Soprano
2
Flûte, Alto (duo)
2
Clarinette et Alto
2
Flûte, Violon, Piano
2
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2
Saxophone Baryton, Piano
2
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1
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1
Flûte, trombone et piano
1
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1
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1
Flûte, Hautbois, Basson
1
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1
Quintette de Flûte : 5 flûtes
1
Flûte, Clarinette, Piano (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
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1
Harmonica
1
Flûte à bec Soprano, Piano
1
2 Flûte à bec (duo)
1
Hautbois, Guitare (duo)
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CUIVRES
Trompette
52
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
47
Trombone
40
Trombone (partie séparée)
36
Cor
29
Trompette (partie séparée)
28
Trombone et Piano
26
Cor et Piano
26
Trompette, Piano
24
Quatuor de Cuivres : 2 trompettes, trombone, tuba
17
Tuba et Piano
16
Quatuor de cuivres: 4 trombones
16
Quatuor de Cuivres
11
Tuba
11
Euphonium, Piano (duo)
8
2 Trombones (duo)
7
Cor anglais, Piano
6
Cor (partie séparée)
6
2 Cors (duo)
6
Tuba (partie séparée)
5
2 Trompettes (duo)
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trompette, Saxophone (duo)
4
2 Cors, Piano
3
Trompette, Trombone (duo)
2
2 Trompettes, Clavier (piano ou orgue)
2
Ensemble de Trombones
2
Ensemble de Trompettes
1
2 Euphoniums et 2 Tubas
1
Trio de Cuivres
1
Trombone basse
1
3 Trompettes (trio)
1
Trompette, Violoncelle et Piano
1
3 Euphoniums
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
114
Violon
66
Violon et Piano
55
Violoncelle
47
Violoncelle, Piano
38
Alto, Piano
35
Alto seul
34
Violon, Violoncelle (duo)
27
Harpe
23
Quintette à cordes: 2 violons, alto, violoncelle, basse
21
Trio à Cordes: violon, alto, violoncelle
20
Violon (partie séparée)
13
2 Violoncelles (duo)
12
Trio à Cordes: 2 violons, violoncelle
10
2 Violons (duo)
8
2 Altos (duo)
8
Contrebasse, Piano (duo)
8
Alto (partie séparée)
7
Contre Basse
7
Contrebasse (partie séparée)
7
Harpe, Flûte (duo)
5
Violon, Alto (duo)
4
2 Violons, Piano
3
4 Violoncelles
3
2 Harpes (duo)
3
Violoncelle (partie séparée)
2
2 Altos, Piano
2
Violoncelle , Guitare (duo)
2
Harpe, Voix
2
2 Violoncelles, Piano
2
Quatuor à cordes: 4 violons
2
Quatuor à cordes : 4 altos
1
Alto, Guitare (duo)
1
Trio à Cordes: 2 violons, alto
1
4 Harpes
1
Trio à Cordes: 3 violoncelles
1
Harpe, Violoncelle (duo)
1
Alto et Harpe
1
Trio à cordes: 3 violins
1
4 Contrebasses
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3 Harpes
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
357
Fanfare
100
Ensemble Jazz
77
Orchestre
59
Orchestre à Cordes
58
Ensemble de cuivres
26
Cloches
17
Batterie
13
Jazz combo
13
Orchestre de chambre
10
Ensemble de Percussions
6
Percussion (partie séparée)
4
Batterie (partie séparée)
4
Xylophone
3
Marimba
2
Bongos
1
Piano et Orchestre
1
Xylophone, Piano
1
Timbales (partie séparée)
1
Marimba, Piano (duo)
1
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Partitions à imprimer
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1
I Know Where I'm Going
2 Pianos, 4 mains
2 Pianos,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.1187941 By Richard…
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2 Pianos,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.1187941 By Richard Simm. By Richard Simm. Arranged by Richard Simm. Folk,Multicultural,Traditional,World. Score. 2 pages. Richard Simm #787548. Published by Richard Simm (A0.1187941). This suite is based upon Richard Simm's Five Irish Melodies, which were originally composed for beginner students to play as piano duets with their teachers or with advanced students. In their new guise for two pianos, they are technically more challenging, but they have the advantage of allowing each performer total control over the subtle pedalling which is sometimes needed here. The lyrics tell of a girl who knows which man she loves, but heaven only knows which one she'll marry...
$6.95
6.3 €
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2 Pianos, 4 mains
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Richard Simm
#
Richard Simm
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I Know Where I'm Going
#
Richard Simm
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SheetMusicPlus
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Rod…
(+)
Instrumental Duet,Keyboard - Digital Download 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
18.13 €
#
2 Pianos, 4 mains
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
THREAD, Between the Octaves A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Rod…
(+)
Instrumental Duet,Keyboard - Digital Download 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
18.13 €
#
2 Pianos, 4 mains
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
SURRENDER, Between the Octaves, A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by…
(+)
Instrumental Duet,Keyboard - Level 4 - Digital Download 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
18.13 €
#
2 Pianos, 4 mains
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
ENCIRCLE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download 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
18.13 €
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2 Pianos, 4 mains
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dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
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Jenni Roditi
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IGNITE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
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SheetMusicPlus
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Rod…
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Instrumental Duet,Keyboard - Digital Download 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
18.13 €
#
2 Pianos, 4 mains
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
CURVE, Between the Octaves - A Piano Duo Suite
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Jenni Roditi
#
SheetMusicPlus
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by…
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Instrumental Duet,Keyboard - Level 4 - Digital Download 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
18.13 €
#
2 Pianos, 4 mains
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
RITUALISE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Level 5 - Digital Download SKU: A0.1497831 Composed by…
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Instrumental Duet,Keyboard - Level 5 - Digital Download 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
18.13 €
#
2 Pianos, 4 mains
#
dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians
#
Jenni Roditi
#
INITIATE, Between the Octaves - A Piano Duo Suite
#
Jenni Roditi
#
SheetMusicPlus
From This Day Forward
2 Pianos, 4 mains
Instrumental Duet,Keyboard - Level 3 - Digital Download SKU: A0.1364124 By Kevin Ke…
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Instrumental Duet,Keyboard - Level 3 - Digital Download SKU: A0.1364124 By Kevin Kern. By Kevin Gibbs. Arranged by Dave Prudon. Contemporary,Jazz,New Age,Pop. 7 pages. Prudon String Ensembles #948433. Published by Prudon String Ensembles (A0.1364124). If you've ever had the pleasure of sitting beside a friend or loved one and playing through a piano duet together, you're going to enjoy owning this beautiful arrangement. Â The parts are pretty evenly matched for difficulty so you can have fun playing either part.To see other arrangements for 2 pianists, take a look at:Â Prudon String Ensembles Sheet Music, where you will also find hundreds of other nice arrangements for strings.
$5.99
5.43 €
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2 Pianos, 4 mains
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Kevin Kern
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Dave Prudon
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From This Day Forward
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Prudon String Ensembles
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SheetMusicPlus
Germaine Tailleferre: Trois Études for two pianos
2 Pianos, 4 mains
Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483
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Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download 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
29.88 €
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2 Pianos, 4 mains
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achieving the physical decline of the French, the
Nazis hope that spiritual collapse will ensue
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Germaine Tailleferre
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Germaine Tailleferre: Trois Études for two pianos
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Musik Fabrik Music Publishing
#
SheetMusicPlus
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