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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
There Was Only
Non classifié
419
Piano & claviers
Piano seul
123
Piano, Voix
64
Piano, Voix et Guitare
31
Piano Facile
7
Instruments en Do
7
Orgue
7
Piano Trio: piano, violon, violoncelle
5
Accompagnement Piano
3
2 Pianos, 4 mains
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Accordéon
1
Piano (partie séparée)
1
1 Piano, 4 mains
1
+ 8 instrumentations
Retracter
Guitares
Guitare
14
Guitare notes et tablatures
11
2 Guitares (duo)
6
Basse electrique
3
Dulcimer
1
Mandoline, Guitare (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
Paroles et Accords
1
Ukulele
1
Mandoline
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
78
Chorale 3 parties
29
Chorale 2 parties
14
Chorale TTBB
10
Chorale SSAA
10
Voix seule
4
Voix duo, Piano
3
Voix Soprano, Piano
2
Voix Baryton, Piano
1
Voix Tenor
1
Voix duo
1
Voix Tenor, Piano
1
Chorale Unison
1
Voix basse, Piano
1
Voix moyenne, Piano
1
Voix Alto, Piano
1
Chorale SSATTB
1
Chorale
1
+ 13 instrumentations
Retracter
Vents
2 Saxophones (duo)
40
Ensemble de saxophones
37
Flûte traversière et Piano
32
Quintette de Saxophone: 5 saxophones
31
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
29
Saxophone Alto et Piano
23
Clarinette et Piano
21
Saxophone Tenor et Piano
19
Saxophone Soprano et Piano
18
Hautbois, Piano (duo)
18
Ensemble de Clarinettes
17
Saxophone, Clarinette (duo)
16
2 Clarinettes (duo)
15
Quatuor de Saxophones: 4 saxophones
13
2 Flûtes traversières (duo)
13
Ensemble de Flûtes
12
Cor anglais, Piano
12
Saxophone Baryton, Piano
12
3 Saxophones (trio)
10
Clarinette, Violon (duo)
10
Clarinette Basse, Piano
9
Clarinette, Trompette (duo)
9
Flûte, Clarinette (duo)
9
Flûte traversière
9
Flûte, Hautbois, Clarinette, Basson
8
Quatuor de Clarinettes: 4 clarinettes
8
Clarinette
8
Flûte, Violon
7
Quintette de Flûte : 5 flûtes
7
Flûte, Saxophone (duo)
7
2 Flûte à bec (duo)
6
Saxophone Alto
6
3 Clarinettes (trio)
6
Clarinette et Alto
5
Flûte, Alto (duo)
5
Flûte, Trompette (duo)
4
Saxophone Tenor
4
Hautbois, Flûte
4
Flûte à bec Soprano
4
Hautbois, Clarinette (duo)
4
2 Hautbois (duo)
4
Hautbois, Basson (duo)
4
Ensemble De Flûte à bec
3
Quatuor de Flûtes : 4 flûtes
3
Quatuor de Flûtes à bec
3
Quintette de Clarinettes: 5 clarinettes
3
Flute, harpe et violon
3
Flûte, Hautbois, Clarinette (trio)
3
3 Flûtes à bec (trio)
2
Flûte et Guitare
2
Flûte à bec Tenor
2
Saxophone Soprano
2
Clarinette, Basson (duo)
2
Flûte, Violoncelle
1
Saxophone et Guitare
1
Saxophone (partie séparée)
1
Flûte à bec Soprano, Piano
1
Saxophone
1
Trio de Flûtes: 3 flûtes
1
Saxophone et Orgue
1
Flûte irlandaise
1
Piccolo, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
5 Flûtes à bec
1
Flûte à bec Alto, Piano
1
Ensemble de Hautbois
1
Flûte à Bec
1
+ 62 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
47
Quatuor de Cuivres : 2 trompettes, trombone, tuba
18
Trombone et Piano
15
Trompette, Piano
13
Ensemble de Trombones
12
Trompette
12
Cor anglais, Piano
12
Euphonium, Piano (duo)
11
Quatuor de Cuivres
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
Ensemble de Trompettes
9
Trompette, Saxophone (duo)
9
Cor et Piano
9
Trompette, Trombone (duo)
8
2 Trombones (duo)
7
Ensemble de Cors
6
2 Trompettes (duo)
6
Trombone
4
2 Cors (duo)
3
Tuba et Piano
3
Tuba
3
4 Tubas
2
Quatuor de cuivres: 4 trompettes
2
2 Tubas (duo)
2
Quatuor de cuivres: 4 trombones
2
2 Cors, Piano
1
3 Trombones (trio)
1
3 Trompettes (trio)
1
Trombone, Cor (duo)
1
3 Tubas (trio)
1
3 Cors (trio)
1
Tuba et Orgue
1
Quatuor de cuivres: 4 cors
1
Trompette, Cor (duo)
1
+ 29 instrumentations
Retracter
Cordes
Violon et Piano
34
Quatuor à cordes: 2 violons, alto, violoncelle
31
Alto, Piano
25
Violoncelle, Piano
19
Trio à Cordes: violon, alto, violoncelle
18
Harpe
13
Violon, Violoncelle (duo)
12
Violon, Alto (duo)
11
2 Violons (duo)
11
Violoncelle
11
2 Violoncelles (duo)
7
2 Altos (duo)
7
Violon
7
2 Harpes (duo)
6
Ensemble de Violons
5
Ensemble d'Altos
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
2 Violons, Piano
3
Trio à Cordes: 2 violons, violoncelle
3
Quatuor à cordes: 4 violons
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à Cordes: 3 violoncelles
2
Trio à cordes: 3 violins
2
Contrebasse, Piano (duo)
2
Trio à cordes: 3 altos
2
4 Violoncelles
1
Violoncelle, Basse continue
1
Quatuor à cordes : 4 altos
1
Violoncelle , Guitare (duo)
1
Violoncelle, Orchestre
1
Alto, Violoncelle (duo)
1
+ 26 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
77
Orchestre
42
Orchestre de chambre
26
Orchestre à Cordes
22
Ensemble de cuivres
14
Ensemble Jazz
13
Cloches
5
Ensemble de Percussions
4
Piano et Orchestre
1
Vibraphone
1
+ 5 instrumentations
Retracter
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FLUTE A DIX…
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BUGLE
CHANT - CHORA…
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ORCHESTRE
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TROMBONE
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TUBA
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VIBRAPHONE
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XYLOPHONE
|
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|
20eme siecle
Bluegrass
Baroque
Blues
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Voix seule
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--INSTRUMENTS--
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1
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
#
AVANCÉ
#
achieving the physical decline
#
Germaine Tailleferre
#
Germaine Tailleferre: Trois &E
#
Musik Fabrik Music Publishing
#
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
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
#
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.
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