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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
The Time Is At Hand
Non classifié
283
Piano & claviers
Piano seul
376
Piano Facile
202
Piano, Voix
131
1 Piano, 4 mains
54
2 Pianos, 4 mains
38
Piano, Voix et Guitare
19
Instruments en Do
9
Orgue
8
Accompagnement Piano
6
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Trio: piano, violon, violoncelle
2
Orgue, Piano (duo)
2
2 Pianos, 8 mains
1
1 Piano, 6 mains
1
+ 9 instrumentations
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Guitare
24
Guitare notes et tablatures
9
2 Guitares (duo)
6
Banjo
2
Ukulele
2
4 Guitares (Quatuor)
1
Piano, Guitare (duo)
1
Basse electrique
1
Paroles et Accords
1
Mandoline
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 6 instrumentations
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Voix
Chorale SATB
55
Voix duo, Piano
14
Voix Alto, Piano
11
Chorale 3 parties
9
Voix Soprano, Piano
8
Chorale SSAA
6
Chorale TTBB
6
Chorale 2 parties
5
Chorale Unison
4
Voix duo
2
Voix seule
1
Voix Baryton, Piano
1
Voix haute
1
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Vents
2 Saxophones (duo)
36
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
31
Quatuor de Clarinettes: 4 clarinettes
24
Quatuor de Saxophones: 4 saxophones
23
Quintette de Saxophone: 5 saxophones
20
Flûte, Hautbois, Clarinette, Basson
20
Saxophone, Clarinette (duo)
16
2 Clarinettes (duo)
16
Flûte traversière et Piano
16
Hautbois, Piano (duo)
15
Clarinette, Violon (duo)
12
Saxophone Soprano et Piano
12
Clarinette, Trompette (duo)
12
Clarinette et Piano
12
2 Flûtes traversières (duo)
11
Saxophone Alto et Piano
9
Saxophone Tenor et Piano
8
Flûte, Clarinette (duo)
8
2 Hautbois (duo)
7
Cor anglais, Piano
7
Hautbois, Basson (duo)
7
Flûte, Saxophone (duo)
6
Flûte, Trompette (duo)
6
Flûte, Alto (duo)
6
Clarinette et Alto
6
Hautbois, Flûte
5
Clarinette
5
Flûte, Violon
5
Quatuor de Flûtes : 4 flûtes
4
Hautbois, Clarinette (duo)
4
Flûte et Guitare
3
3 Clarinettes (trio)
3
Clarinette Basse, Piano
3
Flûte à bec Soprano
3
3 Saxophones (trio)
2
Hautbois (partie séparée)
2
Flute (partie séparée)
2
Ensemble de Clarinettes
2
Saxophone Baryton, Piano
2
Flûte à bec Tenor
2
Clarinette Basse
2
Clarinette, Basson (duo)
1
Saxophone (partie séparée)
1
Flûte, Clarinette, Piano (trio)
1
Clarinette, Violoncelle (duo)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Violon, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Basson et Piano
1
Ensemble de saxophones
1
Flûte traversière
1
Flûte à bec Soprano, Piano
1
Hautbois
1
Flûte, Hautbois, Piano (trio)
1
Hautbois, Guitare (duo)
1
2 Flûtes traversières, Piano
1
Flûte irlandaise
1
Hautbois, Violoncelle
1
Clarinette, Violoncelle, Piano (trio)
1
Ensemble de Flûtes
1
+ 55 instrumentations
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
Trombone et Piano
14
Trompette, Saxophone (duo)
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Cor et Piano
9
Trompette, Piano
7
Cor anglais, Piano
7
2 Trombones (duo)
7
Trompette
6
Trompette, Trombone (duo)
6
2 Trompettes (duo)
6
Ensemble de Trompettes
5
Euphonium, Piano (duo)
4
Cor
2
Euphonium
2
Quatuor de cuivres: 4 trombones
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quatuor de cuivres: 4 cors
1
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
1
2 Cors (duo)
1
Quatuor de Cuivres
1
+ 16 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
36
Harpe
27
Violon et Piano
24
Violon
20
Trio à Cordes: violon, alto, violoncelle
18
Violoncelle, Piano
14
Violon, Violoncelle (duo)
14
Alto, Piano
14
2 Violons (duo)
10
Violon, Alto (duo)
7
2 Violoncelles (duo)
6
Violoncelle
6
2 Altos (duo)
6
Trio à Cordes: 2 violons, violoncelle
4
Alto seul
3
Harpe, Flûte (duo)
3
Contre Basse
3
Harpe, Voix
2
Contrebasse, Piano (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Alto, Violoncelle (duo)
1
Violon, Clarinette, Piano (trio)
1
+ 17 instrumentations
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Orchestre & Percussions
Cloches
91
Orchestre d'harmonie
29
Ensemble de cuivres
15
Orchestre
14
Ensemble Jazz
8
Jazz combo
7
Orchestre à Cordes
7
Orchestre de chambre
5
Batterie
2
Fanfare
2
Ensemble de Percussions
2
Vibraphone
1
Piano et Orchestre
1
Percussion
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
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COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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LUTH
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Vous avez sélectionné:
The Time Is At Hand
2 Pianos, 4 mains
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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
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
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
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
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
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
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
Every Time I Feel the Spirit (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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FACILE
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Musique Sacrée
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Sharon Wilson
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Sharon Wilson
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Every Time I Feel the Spirit
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565174 By Sharon Wilson. By Traditional Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Praise & Worship...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565174 By Sharon Wilson. By Traditional Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Praise & Worship,Sacred,Spiritual. Score. 10 pages. Sharon Wilson #3515435. Published by Sharon Wilson (A0.565174). This arrangement of the traditional spiritual Every Time I Feel the Spirit 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. The PIANO 1 carries the melody throughout. Bright and energetic, this dual piano duet is ideal for a postlude, offertory, or special music. 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 (2 pages each). Duration is just under 2 minutes.This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.
$5.99
Take My Life and Let It Be (2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Sharon Wilson
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Sharon Wilson
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Take My Life and Let It Be
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1458066 By Sharon Wilson. By Frances R. Havergal, Henri A. C. Malan, and Lowell Mason. Arranged by Sharo...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1458066 By Sharon Wilson. By Frances R. Havergal, Henri A. C. Malan, and Lowell Mason. Arranged by Sharon Wilson. 19th Century,Christian,Lent,Romantic Period,Sacred. Score. 13 pages. Sharon Wilson #1037036. Published by Sharon Wilson (A0.1458066). The classic hymn tune HENDON by Henri A. Malan has been arranged as a dual piano duet (for 2 pianos, 4 hands). Both parts carry the melody at times making it fun and equally challenging for both players while adding variety for the listeners. The song begins in the key of G major and then transitions to the key of C major for the second verse.This slightly rhythmic, yet flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by Frances R. Havergal: Take my life, and let it be Consecrated, Lord, to Thee; Take my moments and my days, Let them flow in ceaseless praise.The purchase price includes a 7-page score with combined PIANO 1 and PIANO 2 parts on each page (Grand Staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (2 pages each). This arrangement is one of the 5 hymns in the collection Hymns of Reflection for Two Pianos.Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
Whiter Than Snow (2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Sharon Wilson
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Sharon Wilson
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Whiter Than Snow
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1458061 By Sharon Wilson. By James L. Nicholson and William G. Fischer. Arranged by Sharon Wilson. 19th ...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1458061 By Sharon Wilson. By James L. Nicholson and William G. Fischer. Arranged by Sharon Wilson. 19th Century,Christian,Easter,Lent,Sacred. Score. 16 pages. Sharon Wilson #1037031. Published by Sharon Wilson (A0.1458061). Here is the beautiful hymn Whiter Than Snow by William G. Fischer arranged as a dual piano duet (for 2 pianos, 4 hands). Both parts carry the melody at times making it fun and equally challenging for both players while adding variety for the listeners. The song begins in the key of C major and then transitions to the key of G major for the second verse.This relaxed and flowing arrangement will encourage reflection as the listeners are reminded of the lyrics penned by James L. Nicholson: Lord Jesus, I long to be perfectly whole; I want Thee forever to live in my soul . . . Whiter than snow, yes, whiter than snow, Now wash me, and I shall be whiter than snow.The purchase price includes an 8-page score with combined PIANO 1 and PIANO 2 parts on each page (Grand Staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). This arrangement is one of the 5 hymns in the collection Hymns of Reflection for Two Pianos.Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
Descensus ad Infero (for Two Pianos and Four Hands)
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2 Pianos, 4 mains
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Contemporain
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Tito Abeleda
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Descensus ad Infero
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Visionary Quest Records
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SheetMusicPlus
Piano - SKU: A0.1070270 Composed by Tito Abeleda. 20th Century,Contemporary. Full Performance. Duration 236. Visionary Quest Records #5742347. Published...
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Piano - SKU: A0.1070270 Composed by Tito Abeleda. 20th Century,Contemporary. Full Performance. Duration 236. Visionary Quest Records #5742347. Published by Visionary Quest Records (A0.1070270). Descensus ad Infero is a two piano ensemble piece composed by Tito Abeleda (1964 - ). Digital download is score plus parts = 31 pages.Descensus ad Infero is Latin for Descent into Hell. As such this is a powerful passionate piece with much boldness, dissonance, and angst. There is a driving pulse that is vehement and at times unpleasant and even frenetic because one's descent into the abyss has been adjudged for a life lived accordingly. Piano 1 and Piano 2 trade off on motifs and dynamic changes. Note the melodic motifs that warrant greater emphasis throughout the piece. This piece is rather accessible for the advanced intermediate student. This score would also work well as music for thriller, horror, and/or suspense films.Add this dramatic piece to your music collection today.YouTube - https://bit.ly/DescensusPiano_YouTubeLicense on Songtradr - https://bit.ly/DescensusPiano_SongtradrContact Tito for original compositions: http://bit.ly/TitoAbeleda_SoundBetterEmail: tito@visionaryquestrecords.comPRO: BMI.comVisionary Quest Recordshttps://www.visionaryquestrecords.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunes
$1.99
Avenger Theme
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Haim Saban, Jeremy Adam Sweet,
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Kris McNaney
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Avenger Theme
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Kris McNaney
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.928325 Composed by Haim Saban, Jeremy Adam Sweet, Jeremy Sweet, Ron Kenan, and Shuki Levy. Arranged by K...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.928325 Composed by Haim Saban, Jeremy Adam Sweet, Jeremy Sweet, Ron Kenan, and Shuki Levy. Arranged by Kris McNaney. Contemporary. Score. 19 pages. Kris McNaney #5373247. Published by Kris McNaney (A0.928325). 4-part piano piece written for Primo I, Secondo I, Primo II, and Secondo II. This was arranged for piano extravaganzas with multiple pianos being played at the same time. A minimum of two pianos is required to play this piece with two players at each piano. The skill level required for this is Advanced Intermediate.
$4.99
It Is Well with My Soul (2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Musique Sacrée
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Philip P
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Sharon Wilson Music
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It Is Well with My Soul
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.565569 By Philip P. Bliss. By Horatio G. Spafford and Philip P. Bliss. Arranged by Sharon Wilson Music. ...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.565569 By Philip P. Bliss. By Horatio G. Spafford and Philip P. Bliss. Arranged by Sharon Wilson Music. Christian,Easter,Praise & Worship,Romantic Period,Sacred. Score. 18 pages. Sharon Wilson #4793639. Published by Sharon Wilson (A0.565569). The beloved hymn When Peace Like a River by Phil P. Bliss is presented here as a flowing, peaceful intermediate 2 pianos, 4-hands duet (hymn tune VILLE DU HAVRE). Both PIANO 1 and PIANO 2 get to lead with the melody at times making this a fun and equally challenging piece for both players while adding variety for the listeners.PIANO1 plays the melody for the first verse and chorus. After a short interlude PIANO 2 then leads with the melody for the second verse and chorus. This beautiful, uplifting piano duo arrangement is an ideal selection for a church setting and a valuable addition to your sacred repertoire. Duration 3:15.The purchase price includes a 9-page score with both piano parts on each page plus an alternate format with the two piano parts on separate pages (4 pages each).
$5.99
There Is a Fountain (2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Sharon Wilson
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Sharon Wilson
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There Is a Fountain
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1458068 By Sharon Wilson. By American Folk Song, Folk Song, and William Cowper. Arranged by Sharon Wilso...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1458068 By Sharon Wilson. By American Folk Song, Folk Song, and William Cowper. Arranged by Sharon Wilson. Christian,Easter,Folk,Lent,Sacred. Score. 16 pages. Sharon Wilson #1037039. Published by Sharon Wilson (A0.1458068). The beautiful American folk tune CLEANSING FOUNTAIN has been arranged as a dual piano duet (for 2 pianos, 4 hands). Both parts carry the melody at times making it fun and equally challenging for both players while adding variety for the listeners. Flowing reverently throughout, this piano duet is ideal for a prelude or offertory, or whenever a meditative musical interlude is desired. The purchase price includes a 8-page score with combined PIANO 1 and PIANO 2 parts on each page (Grand Staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). This arrangement is one of the 5 hymns in the collection Hymns of Reflection for Two Pianos.Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
The Entertainer (2 piano duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Ragtime
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Scott Joplin
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Sandra Zylstra
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The Entertainer
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sandra dee zylstra
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.712484 Composed by Scott Joplin. Arranged by Sandra Zylstra. Instructional,Standards. Score. 7 pages. Sa...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.712484 Composed by Scott Joplin. Arranged by Sandra Zylstra. Instructional,Standards. Score. 7 pages. Sandra dee zylstra #6039333. Published by sandra dee zylstra (A0.712484). The Entertainer by Scott Joplin is one of the best known ragtime pieces! Grab a partner and have fun playing this late intermediate two-piano duet arrangement in the keys of C and F. This arrangement includes both piano parts. (Approximately 4:30, 6 pages) You can look at other arrangements by Sandra Zylstra on Sheet Music Plus: https://www.sheetmusicplus.com/publishers/Sandra-Zylstra-sheet-music/3001855?aff_id=584183 and at Piano Pronto: Composers Community https://pianopronto.com/composers-community/sandra-zylstra/
$4.75
I Shall Not Be Moved (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
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I Shall Not Be Moved
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565175 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Stan...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565175 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Standards,Traditional. Score. 13 pages. Sharon Wilson #3516203. Published by Sharon Wilson (A0.565175). This arrangement of the traditional spiritual I Shall Not Be Moved 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 first chorus and verse. Bold and cheerful, this dual piano duet is an ideal selection for a church setting.The purchase price includes a 6-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 2 minutes. This arrangement is one of the 5 spirituals in the collection Five Joyful Tunes for Two Pianos.The lyrics for this song were inspired by the words found in Psalm 1: Blessed is the man who doesn’t walk in the counsel of the wicked…but his delight is in Yahweh’s law…He will be like a tree planted by the streams of water… (WEB)Lyrics:I shall not be moved,I shall not be moved,I shall not be moved,Like a tree planted by the water,I shall not be moved.When my cross is heavy,I shall not be moved,When my cross is heavy,I shall not be moved,Like a tree planted by the water,I shall not be moved.
$5.99
At Calvary - Two Pianos
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2 Pianos, 4 mains
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AVANCÉ
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D
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Pamela M Robertson
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At Calvary - Two Pianos
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Pamela M. Robertson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1404531 Composed by D.B. Towner. Arranged by Pamela M Robertson. Christian,Easter,Ragtime,Religious,Sacr...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1404531 Composed by D.B. Towner. Arranged by Pamela M Robertson. Christian,Easter,Ragtime,Religious,Sacred. Score. 6 pages. Pamela M. Robertson #987611. Published by Pamela M. Robertson (A0.1404531). The hymn At Calvary is presented here in an exciting arrangement for two pianos by Pamela Robertson. This energetic setting is for the advanced pianist, and is perfect for recitals and concerts. Duration: 2 minutes.
$7.99
And Can It Be? (2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Sharon Wilson
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Sharon Wilson
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And Can It Be?
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1455801 By Sharon Wilson. By Charles Wesley and Thomas Campbell. Arranged by Sharon Wilson. 19th Century...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1455801 By Sharon Wilson. By Charles Wesley and Thomas Campbell. Arranged by Sharon Wilson. 19th Century,Christian,Lent,Religious,Sacred. Score. 15 pages. Sharon Wilson #1034900. Published by Sharon Wilson (A0.1455801). This arrangement of the familiar hymn tune SAGINA by Thomas Campbell is written as a dual piano duet (for 2 pianos, 4 hands). Both parts carry the melody at times making it fun and equally challenging for both players while adding variety for the listeners. An optional repeat is provided in case a longer selection is desired. Bright and cheerful throughout, this piano duet is ideal for a prelude, postlude, offertory, or whenever an upbeat musical interlude is desired. The purchase price includes a 7-page score with combined PIANO 1 and PIANO 2 parts on each page (Grand Staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (3 pages each). This arrangement is one of the 5 songs in the collection Hymns of Praise for Two Pianos.Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
Holy, Holy, Holy (2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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FACILE
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Sharon Wilson
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Sharon Wilson
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Holy, Holy, Holy
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Sharon Wilson
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.1455798 By Sharon Wilson. By John Bacchus Dykes and Reginald Heber. Arranged by Sharon Wilson. 19th Cent...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.1455798 By Sharon Wilson. By John Bacchus Dykes and Reginald Heber. Arranged by Sharon Wilson. 19th Century,Christian,Easter,Romantic Period,Sacred. Score. 10 pages. Sharon Wilson #1034895. Published by Sharon Wilson (A0.1455798). This arrangement of the beloved hymn tune NICAEA by John B. Dykes is written as a dual piano duet (for 2 pianos, 4 hands). Both parts carry the melody at times making it fun and equally challenging for both players while adding variety for the listeners. An optional repeat is provided in case a longer selection is desired. Bold and energetic throughout, this piano duet is ideal for a prelude, postlude, offertory, or whenever an upbeat, short musical interlude is desired. The purchase price includes a 4-page score with combined PIANO 1 and PIANO 2 parts on each page (Grand Staff) plus an alternate format with the PIANO 1 and PIANO 2 parts on separate pages (2 pages each). This arrangement is one of the 5 songs in the collection Hymns of Praise for Two Pianos.Visit Sharon Wilson's website: https://www.SharonWilsonMusic.com/Subscribe to her YouTube Channel: https://youtube.com/@SharonWilsonMusic
$5.99
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
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
Concerto for piano and orchestra No. 2
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2 Pianos, 4 mains
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Erik Chisholm
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Concerto for piano and orchest
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Schott Music - Digital
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SheetMusicPlus
2 pianos - SKU: S9.Q5862 Based on Hindustani themes. Composed by Erik Chisholm. This edition: piano reduction for 2 pianos. Downloadable, Piano r...
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2 pianos - SKU: S9.Q5862 Based on Hindustani themes. Composed by Erik Chisholm. This edition: piano reduction for 2 pianos. Downloadable, Piano reduction. Duration 30 minutes. Schott Music - Digital #Q5862. Published by Schott Music - Digital (S9.Q5862). The Piano Concerto No.2 was first performed in Cape Town in 1949 and in the following year was broadcast on the BBC Radio Third Programme. It was enthusiastically received by the critics, Ernest Newman writing of it ’I was particularly intrigued by the skill with which the composer has managed to fuse Hindustani modes of expression and European ways of thought and factors of design into a single organic whole. I was greatly intrigued by it’. It had many performances and broadcasts in the composer’s life time but after his death, was not heard again until 2007 when it was specially recorded for broadcast one evening in ‘Scotland’s Musicâ€, a BBC Radio Scotland’s series of weekly programmes. John Purser, writer and presenter of the series which ran for a year, comments ‘The Concerto emerges as a major achievement in terms of over-all conception, technical innovation and brilliance and superb handling of the orchestra’. The soloist, Dutch pianist Ronald Brautigam, said of his experience “It is a great privilege to be working on such a wonderful Concerto! I have completely fallen in love with the piece. The work is definitely challenging, but the wealth of musical ideas, the refinement of the slow movement, the humour and boisterousness of the finale make one forget that at times fingers need to be scraped off the keyboard’.
$25.99
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