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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
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BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
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UKULELE
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4 091
Piano & claviers
Piano grosses notes
3 296
Orgue
1 733
Piano seul
1 600
Piano, Voix
717
Piano Facile
558
Piano, Voix et Guitare
306
Instruments en Do
168
Accompagnement Piano
164
Clavier
60
Accordéon
52
1 Piano, 4 mains
49
Piano Trio: piano, violon, violoncelle
43
Piano Quatuor: piano, violon, alto, violoncelle
20
2 Pianos, 4 mains
14
Piano Quatuor: piano, 2 violons, violoncelle
12
Piano Quintette: piano, 2 violons, alto, violoncelle
6
Piano (partie séparée)
4
Orgue, Piano (duo)
3
Clavecin
3
Orgue, Trompette (duo)
3
1 Piano, 6 mains
1
2 Accordéons
1
Fake Book
1
2 Pianos, 8 mains
1
+ 19 instrumentations
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Guitares
Guitare
221
Guitare notes et tablatures
194
Ukulele
66
Ligne De Mélodie, (Paroles) et Accords
47
Basse electrique
30
2 Guitares (duo)
29
Dulcimer
20
Mandoline
18
4 Guitares (Quatuor)
12
Banjo
11
Piano, Guitare (duo)
10
Guitare (partie séparée)
6
Guitare, Violon, Violoncelle (trio)
4
3 Guitares (trio)
4
Ensemble de guitares
4
Paroles et Accords
3
Mandoline, Guitare (duo)
3
2 Mandolines (duo)
3
Ensemble de Ukulélés
1
Orchestre à Plectres
1
Guitare, Orchestre
1
+ 16 instrumentations
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Voix
Chorale SATB
725
Chorale 3 parties
251
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226
Chorale TTBB
146
Chorale Unison
101
Chorale SSAA
62
Voix Soprano, Piano
58
Voix duo, Piano
54
Voix Tenor, Piano
49
Voix Alto, Piano
48
Voix duo
41
Voix haute
21
Voix seule
13
Voix Tenor
6
Voix Baryton, Piano
6
Voix moyenne, Piano
5
Soli, choeur mixte et accompagnement
4
Chorale SSATTB
4
Voix basse, Piano
3
Chorale SSAATTBB
3
Chorale
1
Voix Soprano
1
Chorale SSATB
1
+ 18 instrumentations
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Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
340
Quatuor de Saxophones: 4 saxophones
330
Flûte traversière et Piano
301
Clarinette et Piano
287
Saxophone Alto et Piano
240
Hautbois, Piano (duo)
240
2 Saxophones (duo)
232
Flûte, Hautbois, Clarinette, Basson
219
Quintette de Saxophone: 5 saxophones
204
Clarinette
188
Saxophone Tenor et Piano
186
Saxophone Soprano et Piano
181
Flûte traversière
176
Saxophone Alto
168
2 Flûtes traversières (duo)
168
Quatuor de Clarinettes: 4 clarinettes
167
Saxophone Tenor
114
Saxophone Baryton, Piano
110
2 Clarinettes (duo)
93
Ensemble de Clarinettes
92
Quatuor de Flûtes : 4 flûtes
91
Ensemble de saxophones
88
Saxophone (partie séparée)
84
Hautbois (partie séparée)
79
Flûte, Clarinette (duo)
68
3 Saxophones (trio)
61
Hautbois
60
Cor anglais, Piano
59
Saxophone, Clarinette (duo)
57
Ensemble de Flûtes
56
Quintette de Clarinettes: 5 clarinettes
55
Clarinette Basse, Piano
51
Saxophone Soprano
50
2 Hautbois (duo)
40
3 Clarinettes (trio)
40
Clarinette, Violon (duo)
38
Hautbois, Basson (duo)
38
Clarinette, Trompette (duo)
26
Flûte à bec Soprano
26
Hautbois, Flûte
25
Flûte, Violon, Piano
24
2 Flûte à bec (duo)
24
Quintette de Flûte : 5 flûtes
24
Saxophone Baryton
22
Trio de Flûtes: 3 flûtes
22
Cor Anglais
22
Clarinette et Alto
18
Hautbois, Clarinette (duo)
18
Flûte, Saxophone (duo)
18
Hautbois, Clarinette, Basson (trio d'anches)
17
Flûte, Violon
17
Hautbois, Violoncelle
14
Flûte, Trompette (duo)
14
Flûte, Alto (duo)
13
Flûte à Bec
13
Flûte et Guitare
13
Clarinette (partie séparée)
12
Flûte à bec Alto
12
Clarinette, Basson (duo)
11
Flûte, Hautbois, Clarinette (trio)
10
Quatuor de Flûtes à bec
10
Flûte irlandaise
10
Flute (partie séparée)
9
5 Flûtes à bec
8
Clarinette, Guitare (duo)
8
2 Saxophones, Piano
8
Piccolo, Piano
7
3 Flûtes à bec (trio)
7
Ocarina
7
Flûte, Clarinette et Basson
7
Flûte à bec Alto, Piano
6
Clarinette, Violoncelle, Piano (trio)
5
Flûte, Violoncelle, Piano (trio)
5
Flûte, Hautbois (duo)
5
Flûte, Violon, Violoncelle et Piano
4
Piccolo
4
Ensemble De Flûte à bec
4
Harmonica
4
Clarinette, Harpe (duo)
4
Saxophone et Orgue
3
Flûte, Violoncelle
3
Flûte à bec Tenor
3
Flûte, Hautbois, Basson
3
Flûte, Hautbois, Piano (trio)
3
Flûte à bec Soprano, Piano
3
Flûte et Trio à cordes
3
Clarinette, Violoncelle (duo)
2
Flute, harpe et violon
2
Flûte, Clarinette, Piano (trio)
2
Flûte à bec Alto, Basse continue
2
Flûte, Basson et Piano
2
Hautbois, Guitare (duo)
2
2 Cors Anglais Et Pianoforte
2
Flûte à bec, Guitare (duo)
2
Flûte, Violon et Violoncelle
2
Saxophone
2
Flûte, Alto et Piano
2
Saxophone et Harpe
2
Hautbois, Harpe
1
Flûte, Harpe et Violoncelle
1
Flûte à Bec, Piano
1
Clarinette, Alto et Piano (trio)
1
Clarinette Basse
1
Clarinette, Orgue
1
Flûte, alto et harpe
1
Cor anglais et Harpe (duo)
1
Flûte, trombone et piano
1
Ensemble de Hautbois
1
Flûte de Pan
1
Hautbois, Basson et Piano
1
2 Clarinettes, Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Clarinette, Violon (trio)
1
Clarinette, trompette et piano
1
Saxophone et Piano
1
Ensemble à vent
1
2 Flûtes traversières, Piano
1
Clarinette, Trombone (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
+ 114 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
364
Trombone et Piano
235
Trompette
220
Trompette, Piano
217
Quatuor de Cuivres : 2 trompettes, trombone, tuba
203
Cor et Piano
169
Trombone
132
Quatuor de Cuivres: 2 trompettes, Cor, trombone
87
Cor
87
Tuba et Piano
80
Euphonium, Piano (duo)
65
2 Trompettes (duo)
61
Cor anglais, Piano
59
Tuba
57
Ensemble de Trompettes
54
Ensemble de Trombones
50
2 Trombones (duo)
50
Trompette, Trombone (duo)
47
Quatuor de cuivres: 4 trombones
45
Trompette, Saxophone (duo)
43
Quatuor de Cuivres
39
Trompette (partie séparée)
37
Trombone (partie séparée)
29
Trompette, Cor (duo)
28
2 Cors (duo)
22
Cor Anglais
22
Quatuor de cuivres: 4 cors
21
Cor (partie séparée)
15
Quatuor de cuivres: 4 trompettes
13
Ensemble de Cors
10
Euphonium
9
2 Tubas (duo)
9
4 Tubas
9
2 Euphoniums et 2 Tubas
8
3 Trombones (trio)
7
3 Trompettes (trio)
7
Tuba (partie séparée)
7
Trio de Cuivres
5
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trombone basse et Piano
4
2 Trombones, Piano
3
2 Euphoniums (duo)
3
Trombone, Orgue
3
Trombone basse
3
Euphonium, Tuba (duo)
3
Trompette, Harpe
2
2 Cors Anglais Et Pianoforte
2
Tuba et Orgue
2
3 Tubas (trio)
2
Bass Clef Instruments
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor anglais et Harpe (duo)
1
Cor et Harpe
1
Trombone et orchestre
1
Trompette, Trombone, Piano
1
Trombone, Cor (duo)
1
Cor et Orgue
1
Trombone, Tuba (duo)
1
3 Euphoniums
1
+ 54 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
794
Violon et Piano
354
Violon
330
Violon, Violoncelle (duo)
285
Violoncelle, Piano
267
Alto, Piano
251
Trio à Cordes: violon, alto, violoncelle
230
Violoncelle
222
Harpe
155
2 Harpes (duo)
125
Alto seul
112
2 Violons (duo)
93
Quintette à cordes: 2 violons, alto, violoncelle, basse
88
2 Violoncelles (duo)
86
Contre Basse
79
Violon, Alto (duo)
75
Contrebasse, Piano (duo)
59
Trio à Cordes: 2 violons, violoncelle
55
2 Altos (duo)
51
4 Violoncelles
32
Violon (partie séparée)
29
Piano Trio: Violon, Alto, Piano
27
Alto (partie séparée)
24
Contrebasse (partie séparée)
21
Alto, Violoncelle (duo)
18
Ensemble de Violons
14
Trio à cordes: 3 violins
14
Harpe, Flûte (duo)
14
Violon, Guitare (duo)
14
Trio à Cordes: 3 violoncelles
14
Trio à cordes: 3 altos
13
Ensemble d'Altos
12
Quatuor à cordes : 4 altos
12
Violoncelle, Contrebasse (duo)
11
Quatuor à cordes: 4 violons
9
Violoncelle , Guitare (duo)
8
Trio à Cordes: 2 violons, alto
8
Harpe, Voix
7
Harpe, Violon (duo)
7
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Alto, Guitare (duo)
5
Harpe, Violoncelle (duo)
4
Violoncelle (partie séparée)
4
Alto et Harpe
4
Violoncelle, Orgue
3
Ensemble de Violoncelles
3
2 Violoncelles, Piano
3
2 Contrebasses (duo)
3
Violoncelle, Orchestre
2
4 Contrebasses
1
Alto et Basson
1
Violon, Clarinette, Piano (trio)
1
Harpe, Quatuor à cordes
1
2 Violons, Piano
1
Autoharp
1
Alto et orchestre
1
3 Harpes
1
Harpe et Orgue
1
Violoncelle, Basse continue
1
+ 54 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
1 382
Orchestre à Cordes
444
Orchestre
286
Ensemble de cuivres
202
Orchestre de chambre
115
Ensemble Jazz
104
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89
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70
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30
Jazz combo
21
Batterie
14
Xylophone, Piano
10
Percussion (partie séparée)
10
Marimba
8
Ensemble d'École
7
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5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
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3
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3
3 Marimbas
2
Vibraphone et Marimba
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2 Marimbas
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1
Orchestre, Violon
1
Caisse Claire
1
Xylophone
1
Bongos
1
Marimba et Orgue
1
Marimba, Piano (duo)
1
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Théorie de la musique
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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
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
#
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
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
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
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
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
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
When the Saints Go Marching In (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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FACILE
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Gospel Spirituel
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Musique Sacrée
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Sharon Wilson
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Sharon Wilson Music
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When the Saints Go Marching In
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565178 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson Music. Children,Folk,J...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565178 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson Music. Children,Folk,Jazz,Sacred,Spiritual. Score. 12 pages. Sharon Wilson #3519273. Published by Sharon Wilson (A0.565178). This arrangement of the traditional spiritual When the Saints Go Marching In is presented here as a mixed level duet for two pianos, four hands. The PIANO 1 is the easier part (early-intermediate) and the PIANO 2 is slightly more challenging, though still only at the intermediate level. Both PIANO parts carry the melody at times beginning with PIANO 1 for the verse. Quick-paced and bright, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 5-page score with combined PIANO 1 and PIANO 2 parts on each page (the grand staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). Duration is just under 1-1/2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.This song has numerous verses and varying lyrics, most of which reference the joy of marching into heaven at Jesus' second coming. Bible verses from which the lyrics were gleaned include the following:Â . . .Yahweh's ransomed ones will return, and come with singing to Zion; and everlasting joy will be on their heads. They will obtain gladness and joy, and sorrow and sighing will flee away. Isaiah 35:10 WEBFor the Lord himself will descend from heaven with a shout, with the voice of the archangel, and with God's trumpet. The dead in Christ will rise first, then we who are alive, who are left, will be caught up together with them in the clouds, to meet the Lord in the air. So we will be with the Lord forever. Therefore comfort one another with these words. 1 Thessalonians 4:16-18 WEBBlessed are those who do his commandments, that they may have the right to the tree of life, and may enter in by the gates into the city. Revelation 22:14 WEBLyrics for my favorite 3 verses:O when the saints go marching in,O when the saints go marching in,O Lord I want to be in that number,When the saints go marching in.O when the trumpet sounds its call,O when the trumpet sounds its call,O Lord I want to be in that number,When the trumpet sounds its call.O when they crown him Lord of all,O when they crown him Lord of all,O Lord I want to be in that numberWhen they crown him Lord of all.
$5.99
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
A Shropshire Lad - Rhapsody
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2 Pianos, 4 mains
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AVANCÉ
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Richard Simm
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Richard Simm
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A Shropshire Lad - Rhapsody
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1288884 By Richard Simm. By George Butterworth. Arranged by Richard Simm. 20th Century,Chamber,Classical...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1288884 By Richard Simm. By George Butterworth. Arranged by Richard Simm. 20th Century,Chamber,Classical,Folk,Multicultural,World. Score. 11 pages. Richard Simm #879723. Published by Richard Simm (A0.1288884). George Butterworth was a uniquely gifted composer and arranger of English folk songs, who was tragically killed in action during WW1 at the age of only 31.His small output included the song cycle, A Shropshire Lad, from which he expanded the first song, Loveliest of Trees into a wonderful orchestral rhapsody.The music is full of passion, but also the most delicate sensitivity, capturing the romantic essence of the English countryside from bygone days.This arrangement by Richard Simm for two pianos now gives pianists access to this beautiful music.
$7.95
Baoba
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2 Pianos, 4 mains
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Sergio Roberto de Oliveira
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Baoba
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Sergio Roberto de Oliveira
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.962351 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score. 12 pages. Sergio Roberto de...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.962351 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score. 12 pages. Sergio Roberto de Oliveira #4822133. Published by Sergio Roberto de Oliveira (A0.962351). Falls House Press has published his works Faces and Mot pour Laura in the United States. Various articles in specialized journals and sites have cited the composer, such as the Flutist Quarterly (Circus Brasilis - The flute music of Sergio Roberto de Oliveira), Early Music America (Something New for Early Music), Andante.com (The heirs of Villa-Lobos), 21st Century Music, Musicabrasileira.org, etc. Sergio Roberto de Oliveira has frequently been invited to lecture at American universities, and has spoken at more than a dozen institutions including Princeton and Duke. In 2009 he was Artist-in-Residence at Duke University. In addition the USA and the UK, Oliveira's music has also been played in many countries, with invitations for concerts exclusively with his music in México, Italy and Holland (Amsterdam). The Spanish Magazine Sonograma has published 2 interviews with Sergio.Sergio is the founder and a member of the group of composers Prelúdio 21. The group is one of the most active worldwide. It holds a distinguished place in Brazilian contemporary music, having been active for 15 consecutive seasons, with a permanent series of monthly concerts since 2008. In 2011 the group released the CD String Quartets, with performances by the Quarteto Radamés Gnattali. Oliveira is also a member of the group of composers Vox Novus, based in New York.To commemorate 15 years of activity as a composer, Oliveira released a box set with 4 CDs, as well as a CD with composer Mark Hagerty, and produced the series QUINZE, with 13 concerts including his works, between July and October of 2012. More than 130 musicians, including 28 composers, participated of QUINZE (CDs and series).His discography includes 14 CDs as producer, 14 as composer, 22 as general producer, 2 as arranger and 2 as pianist. His catalog of compositions includes approximately 115 works for various ensembles, including Symphony Orchestra. Sergio Roberto de Oliveira is a member of the Latin Academy of the Arts and Science of Recording.He died from pancreatic cancer in 2017.
$8.55
The Carousel Waltz
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2 Pianos, 4 mains
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AVANCÉ
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Comédie Musicale
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Richard Rodgers
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Richard Simm
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The Carousel Waltz
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1042682 Composed by Richard Rodgers. Arranged by Richard Simm. Broadway,Musical/Show. Score. 22 pages. R...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1042682 Composed by Richard Rodgers. Arranged by Richard Simm. Broadway,Musical/Show. Score. 22 pages. Richard Simm #647110. Published by Richard Simm (A0.1042682). The amazing harmonic and melodic gifts of Richard Rodgers, which fit so perfectly with the lyric talents of Oscar Hammerstein II, have inspired some equally amazing musical achievements in Hollywood, where some of the most remarkable musicians of our time worked upon Rodgers's original scores and enhanced them with truly wonderful orchestral arrangements of the accompaniments to the songs. Richard Simm was in turn inspired by their unsurpassed work to give this item from Carousel a new treatment as two-piano music. It was arranged with the generous permission of the Rodgers & Hammerstein company.
$12.95
Sonata for 2 pianos
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2 Pianos, 4 mains
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Contemporain
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Liudmila Knyazeva & Daria Yaki
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Sonata for 2 pianos
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Liudmila Knyaz
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.495151 By Liudmila Knyazeva & Daria Yakimovich. By Liudmila Knyazeva. Classical,Contemporary. Score. 27 pages. Pub...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.495151 By Liudmila Knyazeva & Daria Yakimovich. By Liudmila Knyazeva. Classical,Contemporary. Score. 27 pages. Published by Liudmila Knyaz (A0.495151). Lyudmila Knyazeva's spectacular concert composition for a piano duet can decorate the program of even the most demanding performers. This composition is often performed in live concerts and always evokes a standing ovation from the audience. The composition begins with a slow intro. Then comes the Sonata Allegro - fast and bravura music. Composition requires skill and professionalism of the performer. It is also important to be able to work with modern music, to know and understand its language, dynamics, complex harmonies. Lyudmila Knyazeva is a living composer of the 21st century.
$5.00
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