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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
TO PAT
Non classifié
2 777
Piano & claviers
Piano seul
2 475
Piano Facile
1 142
Piano, Voix
911
Piano, Voix et Guitare
379
Instruments en Do
213
Orgue
121
Piano grosses notes
101
1 Piano, 4 mains
91
Accordéon
47
Accompagnement Piano
44
Piano Trio: piano, violon, violoncelle
26
2 Pianos, 4 mains
15
Piano (partie séparée)
13
Piano Quatuor: piano, violon, alto, violoncelle
7
Piano Quatuor: piano, 2 violons, violoncelle
5
1 Piano, 6 mains
4
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Orgue, Piano (duo)
2
Clavier
1
+ 14 instrumentations
Retracter
Guitares
Guitare notes et tablatures
339
Ligne De Mélodie, (Paroles) et Accords
327
Guitare
209
Ukulele
100
Basse electrique
76
Paroles et Accords
34
Guitare (partie séparée)
25
Banjo
18
Dulcimer
15
Mandoline
10
Ensemble de guitares
9
2 Guitares (duo)
8
Piano, Guitare (duo)
8
4 Guitares (Quatuor)
7
2 Dulcimers (duo)
3
Ukulele Baryton
3
3 Guitares (trio)
3
Dobro
1
Guitare Pedal Steel
1
Mandoline, Guitare (duo)
1
+ 15 instrumentations
Retracter
Voix
Chorale SATB
1 015
Chorale 3 parties
388
Chorale 2 parties
247
Chorale TTBB
157
Chorale Unison
124
Chorale SSAA
70
Chorale
68
Voix duo, Piano
40
Pack Instrumental pour Chorale
34
Voix seule
30
Voix duo
23
Voix haute
11
Voix Soprano, Piano
11
Voix Baryton, Piano
5
Voix basse, Piano
5
Voix Tenor, Piano
3
Voix Alto, Piano
3
Chorale SSATB
2
Voix moyenne, Piano
2
Voix Moyenne
1
Voix Tenor
1
Voix Mezzo-Soprano, Piano
1
Chorale SSAATTBB
1
Voix basse
1
+ 19 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
208
Flûte traversière et Piano
205
Flûte traversière
176
Quatuor de Saxophones: 4 saxophones
161
Clarinette et Piano
131
Clarinette
125
2 Saxophones (duo)
122
Saxophone
113
Quatuor de Clarinettes: 4 clarinettes
111
Flûte, Hautbois, Clarinette, Basson
103
Saxophone Alto et Piano
98
Hautbois, Piano (duo)
94
Quintette de Saxophone: 5 saxophones
94
2 Clarinettes (duo)
90
Saxophone (partie séparée)
87
2 Flûtes traversières (duo)
86
Saxophone Tenor et Piano
84
Saxophone Alto
72
Saxophone Soprano et Piano
69
Saxophone Tenor
53
Ensemble de Clarinettes
47
Quatuor de Flûtes : 4 flûtes
40
Flûte, Clarinette (duo)
38
Hautbois (partie séparée)
36
Clarinette (partie séparée)
33
Clarinette, Violon (duo)
31
Quintette de Clarinettes: 5 clarinettes
31
2 Flûtes traversières, Piano
31
Ensemble de Flûtes
29
Clarinette, Trompette (duo)
26
2 Hautbois (duo)
26
3 Clarinettes (trio)
24
Trio de Flûtes: 3 flûtes
24
Flute (partie séparée)
24
Ensemble de saxophones
22
Hautbois, Clarinette (duo)
22
Flûte, Hautbois, Clarinette (trio)
22
Flûte, Violon
21
Clarinette Basse, Piano
21
Hautbois
20
Saxophone Baryton, Piano
20
Ocarina
19
Hautbois, Basson (duo)
18
3 Saxophones (trio)
17
Flûte, Alto (duo)
16
Saxophone, Clarinette (duo)
16
Clarinette et Alto
16
Flûte, Saxophone (duo)
14
Quintette de Flûte : 5 flûtes
14
Flûte, Hautbois (duo)
13
Cor anglais, Piano
13
Hautbois, violon (duo)
12
Flûte, Violon, Piano
12
Saxophone Soprano
12
Flûte, Clarinette et Basson
12
Flûte, Trompette (duo)
11
Flûte à bec Soprano
11
Flûte à Bec
10
2 Flûte à bec (duo)
9
Flûte, Hautbois, Basson
8
Clarinette, Violoncelle (duo)
8
Flûte et Guitare
8
Flûte à bec Alto
7
Clarinette Basse
7
Saxophone Baryton
6
Harmonica
6
Quatuor de Flûtes à bec
6
Clarinette, Basson (duo)
6
Flûte, Violoncelle
5
Clarinette, Violoncelle, Piano (trio)
5
Hautbois, Clarinette, Basson (trio d'anches)
5
Flûte à bec Tenor
4
Hautbois, Flûte
4
Clarinette, Guitare (duo)
4
2 Clarinettes, Piano
4
Hautbois, Violoncelle
4
Flûte, Clarinette, Piano (trio)
4
Flûte, trombone et piano
3
Instruments en Mib
3
Saxophone et Harpe
3
Clarinette, Trombone (duo)
3
Flûte, Violon, Violoncelle et Piano
3
Flûte, Trombone (duo)
3
Clarinette, Harpe (duo)
3
Cor Anglais
2
Flûte irlandaise
2
Flûte, Alto et Piano
2
Clarinette, trompette et piano
2
Flûte, Violon et Violoncelle
2
2 Clarinettes, Basson
2
Flûte, Hautbois, Piano (trio)
2
Flûte, Basson et Piano
2
3 Hautbois
2
Hautbois, Trompette (duo)
1
Flûte à bec Alto, Basse continue
1
Clarinette, Tuba
1
Clarinette, Contrebasse (duo)
1
Piccolo
1
Hautbois, trombone (duo)
1
Saxophone et Guitare
1
Flûte à bec Alto, Piano
1
Clarinette, Alto et Piano (trio)
1
Hautbois, Guitare (duo)
1
Hautbois et alto (duo)
1
Clarinette, Orgue
1
Hautbois, Harpe
1
Flûte, Violoncelle, Piano (trio)
1
Ensemble à vent
1
Ensemble De Flûte à bec
1
Flûte à bec Soprano, Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
+ 106 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
313
Trompette
171
Quatuor de Cuivres : 2 trompettes, trombone, tuba
113
Trompette, Piano
103
Trombone
101
Trombone et Piano
97
Trombone (partie séparée)
82
Cor et Piano
72
Trompette (partie séparée)
61
Cor
51
2 Trompettes (duo)
45
Tuba et Piano
41
Tuba
40
2 Trombones (duo)
38
Trompette, Trombone (duo)
30
Quatuor de Cuivres
27
Euphonium, Piano (duo)
26
Cor (partie séparée)
23
Quatuor de Cuivres: 2 trompettes, Cor, trombone
23
Tuba (partie séparée)
20
Quatuor de cuivres: 4 trombones
19
Trompette, Saxophone (duo)
17
2 Cors (duo)
16
Quatuor de cuivres: 4 cors
14
Cor anglais, Piano
13
Trompette, Cor (duo)
12
Ensemble de Trombones
11
Ensemble de Trompettes
9
3 Trompettes (trio)
7
Euphonium
5
Quatuor de cuivres: 4 trompettes
5
2 Tubas (duo)
5
Bass Clef Instruments
5
4 Tubas
4
Trombone basse
4
Instruments en Sib
3
Ensemble de Cors
3
Euphonium, Tuba (duo)
3
2 Euphoniums et 2 Tubas
3
Cor Anglais
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trompette, Tuba (duo)
2
Cor, Violoncelle (duo)
2
3 Trombones (trio)
2
2 Euphoniums (duo)
2
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
Cor et Harpe
1
Ensemble de Tubas
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette, Euphonium (duo)
1
Trombone, Orgue
1
Trombone et orchestre
1
Cor et Orgue
1
Trio de Cuivres
1
Trompette, Violoncelle et Piano
1
Trompette et Guitare
1
+ 51 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
348
Violon et Piano
274
Violon
201
Harpe
155
Violoncelle, Piano
138
Alto, Piano
127
Violoncelle
99
Alto seul
95
Violon, Violoncelle (duo)
83
2 Violons (duo)
67
Violon (partie séparée)
56
2 Violoncelles (duo)
47
Trio à Cordes: violon, alto, violoncelle
46
2 Altos (duo)
43
Violon, Alto (duo)
43
Contrebasse, Piano (duo)
39
Contrebasse (partie séparée)
39
Alto (partie séparée)
33
Contre Basse
32
Quintette à cordes: 2 violons, alto, violoncelle, basse
32
Trio à Cordes: 2 violons, violoncelle
25
Harpe, Flûte (duo)
21
2 Harpes (duo)
19
Violoncelle (partie séparée)
14
Trio à cordes: 3 violins
14
Alto, Violoncelle (duo)
11
Piano Trio: Violon, Alto, Piano
11
Trio à cordes
9
Violon, Guitare (duo)
7
4 Violoncelles
7
Alto, Guitare (duo)
6
Trio à Cordes: 3 violoncelles
5
Harpe, Violon (duo)
5
Violoncelle , Guitare (duo)
5
Quatuor à cordes: 4 violons
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
4
Ensemble d'Altos
4
Harpe, Voix
4
Ensemble de Violons
4
Harpe, Violoncelle (duo)
3
Violon, Clarinette, Piano (trio)
3
Trio à Cordes: 2 violons, alto
2
Trio à cordes: 3 altos
2
2 Contrebasses (duo)
2
Quatuor à cordes : 4 altos
2
Autoharp
2
Flûte, Contrebasse (duo)
1
Violoncelle, Orgue
1
Alto et Basson
1
Harpe et Piano
1
Harpe, Trombone (duo)
1
2 Violoncelles, Piano
1
Violon, Basson (duo)
1
Violon, Basse continue
1
Violoncelle, Contrebasse (duo)
1
+ 50 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 936
Orchestre à Cordes
463
Orchestre
417
Ensemble Jazz
186
Cloches
160
Ensemble de cuivres
139
Fanfare
91
Batterie
75
Jazz combo
59
Ensemble de Percussions
58
Orchestre de chambre
56
Marimba
26
Percussion (partie séparée)
25
Batterie (partie séparée)
12
Percussion
11
Big band
8
Xylophone
6
Timbales (partie séparée)
5
Vibraphone
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Ensemble d'École
3
Xylophone, Piano
2
Vibraphone et Marimba
2
Quintette de Cuivres: autres combinaisons
1
Marimba, Piano (duo)
1
Bongos
1
Piano et Orchestre
1
Caisse Claire
1
Instrumentation Flexible
1
Bodhran
1
Quatuor à Vent : 4 instruments à vents
1
+ 26 instrumentations
Retracter
Autres
Formation musicale - Solfège
2
Théorie de la musique
1
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
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ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
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Vous avez sélectionné:
TO PAT
2 Pianos, 4 mains
Partitions à imprimer
15 partitions trouvées
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1
From Sea to Shining Sea: Nine American Heritage Songs - Piano Duo (2 Pianos, 4 Hands)
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2 Pianos, 4 mains
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Classique
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Winifred Hyson
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From Sea to Shining Sea: Nine
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Arranged by Winifred Hyson. Patriotic. 31 pages. Alfred Music - Digital Sheet Music #00-PB-0000572. Published by Alfred Music - Digital Sheet Music...
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Arranged by Winifred Hyson. Patriotic. 31 pages. Alfred Music - Digital Sheet Music #00-PB-0000572. Published by Alfred Music - Digital Sheet Music
$7.95
Chasing Cars
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Snow Patrol
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D
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Chasing Cars
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D. Berry
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1213634 By Snow Patrol. By Gary Lightbody, Jonathan Quinn, Nathan Connolly, Paul Wilson, and Tom Simpson...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1213634 By Snow Patrol. By Gary Lightbody, Jonathan Quinn, Nathan Connolly, Paul Wilson, and Tom Simpson. Arranged by D. Berry. Pop,Rock,Wedding. Score. 20 pages. D. Berry #810830. Published by D. Berry (A0.1213634). An arrangement of Snow Patrol's popular song Chasing Cars for piano duo (two pianos, four hands). The interest of this song comes partly from the evolution of textures, and this piano duo version continually varies the texture, while keeping the parts simple enough to be playable by intermediate pianists.
$12.99
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
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
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
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
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
Dance of the Comedians (from The Bartered Bride)
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2 Pianos, 4 mains
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AVANCÉ
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Bedrich Smetana
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Patrick Speckamp
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Dance of the Comedians
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Patrick Speckamp
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1433983 Composed by Bedrich Smetana. Arranged by Patrick Speckamp. 19th Century,Classical. Score. 21 pag...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1433983 Composed by Bedrich Smetana. Arranged by Patrick Speckamp. 19th Century,Classical. Score. 21 pages. Patrick Speckamp #1014212. Published by Patrick Speckamp (A0.1433983). This is a two-piano version of B. Smetana's ever popular and energetic Dance of the Comedians. Smetana employed the lively Czech folk dance Skočná in the third act of his opera The Bartered Bride, where a circus troupe performs an array of tricks and acrobatics. The transcription is intended to be played by two pianists at two pianos. The original orchestral score has been rendered as accurately as possible, while also keeping issues of piano-specific playability in mind. Where appropriate, slight changes to the original text (such as changes in register, piano-specific figurations) have been made to either enhance the overall sound impression and/or to improve playability on the piano. The difficulty level of the arrangement is high-intermediate to advanced. That said, Dance of the Comedians is a rewarding and fun piece - as well as a genuine crowd-pleaser - that may be performed by skilled amateurs and professional pianists alike.
$9.99
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
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
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
Solar
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2 Pianos, 4 mains
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FACILE
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Jazz
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Miles Davis
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Cristiano Vecchi
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Solar
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Cristiano Vecchi
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.963302 By Miles Davis. By Miles Davis. Arranged by Cristiano Vecchi. Jazz. Score. 12 pages. Cristiano Ve...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.963302 By Miles Davis. By Miles Davis. Arranged by Cristiano Vecchi. Jazz. Score. 12 pages. Cristiano Vecchi #4580723. Published by Cristiano Vecchi (A0.963302). This arrangement (in all keys) has a didactic purpose: the melody is doubled to the octave, while the accompaniment uses a simple stride piano pattern with four-part voicing; it is useful for practicing to sight read and to memorize chords and scales in all keys. This famous standard is particularly useful because it contains numerous ii-V-I cadences.
$4.99
Cumbia Op.22
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2 Pianos, 4 mains
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Alexander Klein
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Cumbia Op.22
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Alexander Klein
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.987687 Composed by Alexander Klein. Contemporary,Jazz,Latin,World. Score. 19 pages. Alexander Klein #2076019. Publ...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.987687 Composed by Alexander Klein. Contemporary,Jazz,Latin,World. Score. 19 pages. Alexander Klein #2076019. Published by Alexander Klein (A0.987687). Cumbia is yet another of my musical homages to the rhythms and sounds of Colombia. This lively, syncopated musical expression was partly imported to Colombia from Africa during the slave trade back in the 16th, 17th and 18th centuries. Since the Atlantic coast of Colombia was the main port of this trade, the area also became the cradle of Cumbia and many other African-influenced genres. My work explores the main rhythmical patterns of the Cumbia, as well as its modal-type melodies. However, I have also mixed it with jazz-influenced harmonies and salsa-flavored rhythms to reflect my own bi-cultural upbringing. All in all, I like to consider my Cumbia as a homage to the rich, lively and irresistible music of African-American cultures. - Alexander Klein.
$6.00
Comfortably Numb
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Rock
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Pink Floyd
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Laura Poblete
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Comfortably Numb
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Laura Poblete
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.898274 By Pink Floyd. By David Gilmour and Roger Waters. Arranged by Laura Poblete. Rock. Score. 9 pages...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.898274 By Pink Floyd. By David Gilmour and Roger Waters. Arranged by Laura Poblete. Rock. Score. 9 pages. Laura Poblete #5312365. Published by Laura Poblete (A0.898274). This is a massive song, but luckily with a lot of repeating patterns, so it’s actually quite enjoyable to play. I make no attempts to accurately represent the guitar solo at the end of the song, but this arrangement is a pretty fun piano version, ideally with the top line either sung or played by a third hand/second track on the piano. View a tutorial of this arrangement on YouTube: https://youtu.be/z1_Nzk3-a78. Learn more at http://thebrokenpiano.com.
$5.99
Jazz Piano Concerto No 2 in Ab New York Tour by James Nathaniel Holland
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2 Pianos, 4 mains
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AVANCÉ
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James Nathaniel Holland
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Jazz Piano Concerto No 2 in Ab
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James Nathaniel Holland
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.730240 Composed by James Nathaniel Holland. Contemporary,Folk,Holiday,Jazz,Patriotic. Score. 56 pages. J...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.730240 Composed by James Nathaniel Holland. Contemporary,Folk,Holiday,Jazz,Patriotic. Score. 56 pages. James Nathaniel Holland #442965. Published by James Nathaniel Holland (A0.730240). (Duration: 25 minutes) 2 Pianos, 4 Hands (Revised 2018)James Nathaniel Holland is an American classical music composer of operas, symphonies, ballets, songs, and other musical concertworks that incorporate a unique, eclectic, blend of romantic, classical, world and jazz styles. In this second of his piano concerto, he blends jazz with sensitivity, rhythmic to lyrical. This concerto is entitled New York Tour because like the city that inspired it, it travels throughout times, musical neighborhoods and cultures. Great compliment in programming with Mozart piano concertos or Gershwin's Rhapsody in Blue to feature American classical composers. Newly revised (2018) with measure numbers and rehearsal letters that match the full score.YouTube presentation: https://www.youtube.com/watch?v=eAKDrGPLa3g Born and raised in Indiana, James Nathaniel Holland studied music at DePauw University, Vienna Austria, Interlochen National Music Camp and Indiana University (Bloomington, IN). At these schools many of his early pieces were premiered and performed, with one work being selected for main-stage production in the season. Moving to Los Angeles and then settling in New York, he performed professionally sometimes as a singer, sometimes as a pianist, sometimes as choral conductor. He composed incidental music for the stage. In 2002 he founded a composers collective where they showcased their work. He was one of the first composers to participate in the American Music Center's initial on-line library. The New Jersey Concert Opera and the Gay Men's Chorus of New Jersey also featured his comic operas and art songs. From 2005 he moved to Costa Rica where he organized concerts with visiting guest artists to present his chamber music to the public. Presently he lives in a castle in the central mountains of Costa Rica. Website: https://facebook.com/jamesnathanielholland/ YouTube Channel: https://www.youtube.com/user/composerjnholland
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