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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
I AM
Non classifié
1 420
Piano & claviers
Piano seul
1 088
Piano, Voix et Guitare
826
Piano, Voix
731
Piano Facile
343
Orgue
81
Instruments en Do
81
Accompagnement Piano
66
Piano grosses notes
63
1 Piano, 4 mains
18
2 Pianos, 4 mains
7
Piano Trio: piano, violon, violoncelle
6
Accordéon
5
Piano (partie séparée)
3
Clavier
3
Piano Quatuor: piano, 2 violons, violoncelle
3
Orgue, Trompette (duo)
2
Ligne De Mélodie, Piano
2
2 Accordéons
1
Instrument seul et Orgue
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
2 Pianos, 8 mains
1
Clavecin
1
+ 17 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
253
Guitare notes et tablatures
241
Paroles et Accords
97
Guitare
88
Ukulele
67
Basse electrique
35
Banjo
8
2 Guitares (duo)
7
Mandoline
5
4 Guitares (Quatuor)
5
Ensemble de guitares
3
Dulcimer
2
Piano, Guitare (duo)
2
Basse électrique (partie séparée)
1
Dobro
1
Ukulele Baryton
1
3 Guitares (trio)
1
+ 12 instrumentations
Retracter
Voix
Chorale SATB
723
Chorale 3 parties
182
Pack Instrumental pour Chorale
150
Chorale TTBB
144
Chorale 2 parties
144
Voix duo, Piano
65
Chorale Unison
62
Voix Soprano, Piano
39
Chorale SSAA
37
Voix seule
35
Voix Baryton, Piano
35
Voix Alto, Piano
35
Voix Tenor, Piano
30
Chorale
26
Voix duo
22
Voix haute
17
Chorale SSAATTBB
3
Chorale SSATB
2
Voix moyenne, Piano
2
Voix basse, Piano
1
Voix, Guitare
1
Chorale SSATBB
1
Chorale, Orgue
1
+ 18 instrumentations
Retracter
Vents
Flûte traversière
74
Flûte traversière et Piano
62
Flûte, Hautbois, Clarinette, Basson
60
Clarinette
59
Saxophone Alto
58
Clarinette et Piano
55
Saxophone
54
Quatuor de Saxophones: 4 saxophones
48
Saxophone Tenor
47
Saxophone (partie séparée)
42
Hautbois, Piano (duo)
37
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
37
Saxophone Alto et Piano
32
2 Saxophones (duo)
30
Saxophone Tenor et Piano
28
Saxophone Soprano et Piano
26
Hautbois (partie séparée)
25
Quatuor de Clarinettes: 4 clarinettes
22
2 Flûtes traversières (duo)
21
Flûte et Guitare
19
2 Clarinettes (duo)
18
Quintette de Saxophone: 5 saxophones
15
Flûte, Clarinette (duo)
15
Cor anglais, Piano
12
Saxophone Baryton, Piano
12
Hautbois
10
Flute (partie séparée)
10
Saxophone, Clarinette (duo)
9
Clarinette, Violon (duo)
8
Quatuor de Flûtes : 4 flûtes
8
Clarinette, Guitare (duo)
8
Ensemble de Clarinettes
8
Clarinette (partie séparée)
7
Hautbois, Basson (duo)
6
Flûte à Bec
5
Flûte, Trompette (duo)
5
Trio de Flûtes: 3 flûtes
5
Saxophone et Guitare
4
Clarinette, Trompette (duo)
4
2 Flûtes traversières, Piano
4
Flûte, Clarinette, Piano (trio)
4
Hautbois, Clarinette (duo)
4
Quintette de Flûte : 5 flûtes
4
Flûte à bec Soprano
4
Flûte, Violon
4
Clarinette, Basson (duo)
4
Quatuor de Flûtes à bec
4
Clarinette et Alto
4
Ensemble de Flûtes
4
Saxophone Soprano
4
2 Saxophones, Piano
3
2 Hautbois (duo)
3
Cor anglais, Guitare (duo)
3
Flûte, Alto et Piano
3
3 Clarinettes (trio)
3
Instruments en Mib
3
Flûte, Alto (duo)
2
Flûte, Hautbois, Clarinette (trio)
2
3 Saxophones (trio)
2
Clarinette Basse, Piano
2
Clarinette, Harpe (duo)
2
Flûte à bec Soprano, Piano
2
Saxophone Baryton
2
Flûte à bec Tenor
2
Flûte, Saxophone (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte, Violon, Piano
2
Ensemble de saxophones
2
Flûte, Clarinette, Violon (trio)
1
4 Hautbois
1
Flûte, Basson et Piano
1
Flûte à bec Alto, Piano
1
Flûte, Violon et Violoncelle
1
Flûte traversière, Orgue (duo)
1
Flûte, Violon, Violoncelle et Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Clarinette, Violoncelle (duo)
1
Flûte à bec, Harpe
1
Clarinette, Alto et Piano (trio)
1
Flûte à bec Alto
1
Flûte, trombone et piano
1
Cor anglais et Harpe (duo)
1
2 Cors Anglais Et Pianoforte
1
5 Flûtes à bec
1
Flûte, Hautbois, Violon
1
2 Clarinettes, Piano
1
Piccolo, Piano
1
Flûte, Hautbois, Basson
1
+ 83 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
72
Trompette
63
Trombone
54
Trombone et Piano
49
Trompette, Piano
41
Ensemble de Trompettes
35
Cor
34
Cor et Piano
26
Quatuor de Cuivres : 2 trompettes, trombone, tuba
23
Trompette (partie séparée)
20
2 Trompettes (duo)
14
Euphonium
12
Cor anglais, Piano
12
Tuba
12
Trombone (partie séparée)
11
2 Trombones (duo)
11
Quatuor de Cuivres
9
Tuba et Piano
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Trompette, Trombone (duo)
8
2 Cors (duo)
6
Euphonium, Piano (duo)
6
Cor (partie séparée)
6
Bass Clef Instruments
5
Trompette, Cor (duo)
4
Quatuor de cuivres: 4 trombones
4
Quatuor de cuivres: 4 trompettes
4
Ensemble de Trombones
3
Quatuor de cuivres: 4 cors
3
Cor anglais, Guitare (duo)
3
Trio de Cuivres
3
Instruments en Sib
3
3 Trompettes (trio)
2
Trompette, Violoncelle et Piano
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trombone basse et Piano
1
2 Euphoniums et 2 Tubas
1
2 Trompettes, Clavier (piano ou orgue)
1
Tuba (partie séparée)
1
Trombone basse
1
Cor anglais et Harpe (duo)
1
Trompette, violon (duo)
1
2 Cors, Piano
1
2 Trombones, Piano
1
2 Cors Anglais Et Pianoforte
1
Trompette, Saxophone (duo)
1
4 Euphoniums
1
+ 42 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
142
Violon
97
Violon et Piano
93
Violoncelle
72
Violoncelle, Piano
51
Alto seul
50
Alto, Piano
39
Violon, Violoncelle (duo)
29
Harpe
23
Trio à Cordes: violon, alto, violoncelle
17
Violon, Alto (duo)
16
2 Violoncelles (duo)
16
Quintette à cordes: 2 violons, alto, violoncelle, basse
14
2 Violons (duo)
13
Violon (partie séparée)
12
Contrebasse, Piano (duo)
12
2 Altos (duo)
11
Alto (partie séparée)
11
Violon, Guitare (duo)
8
Alto, Violoncelle (duo)
7
Contrebasse (partie séparée)
6
Contre Basse
5
Piano Trio: Violon, Alto, Piano
5
Harpe, Voix
5
Trio à cordes: 3 violins
3
Ensemble de Violons
3
Alto, Guitare (duo)
3
Trio à cordes
2
Quatuor à cordes: 4 violons
2
Harpe, Flûte (duo)
2
Trio à Cordes: 3 violoncelles
2
Harpe, Violon (duo)
1
4 Violoncelles
1
Alto et Harpe
1
Harpe, Violoncelle (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violoncelle (partie séparée)
1
2 Violons, Piano
1
Violoncelle, Orchestre
1
Violoncelle , Guitare (duo)
1
Ensemble de Violoncelles
1
Harpe et Piano
1
4 Contrebasses
1
Trio à Cordes: 2 violons, violoncelle
1
Violon, Tuba (duo)
1
+ 40 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
90
Orchestre
73
Ensemble de cuivres
69
Fanfare
66
Orchestre à Cordes
43
Batterie
33
Ensemble Jazz
31
Orchestre de chambre
28
Cloches
25
Jazz combo
13
Percussion (partie séparée)
7
Ensemble de Percussions
5
Batterie (partie séparée)
3
Marimba
2
Vibraphone
2
Xylophone
2
Xylophone ou Marimba ou Vibraphone
2
Xylophone (partie séparée)
1
Quatuor à Vent : 4 instruments à vents
1
Piano et Orchestre
1
Xylophone, Piano
1
+ 16 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
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COR
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DIDGERIDOO
DULCIMER
EUPHONIUM
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2 Pianos, 4 mains
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1
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
#
dislocation I mean a degree of
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Jenni Roditi
#
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
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
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
ENCIRCLE, Between the Octaves
#
Jenni Roditi
#
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
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
#
dislocation I mean a degree of
#
Jenni Roditi
#
SURRENDER, Between the Octaves
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Jenni Roditi
#
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
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
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
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
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Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
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