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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
Turn It Down!
Non classifié
818
Piano & claviers
Piano seul
791
Piano, Voix
139
Piano, Voix et Guitare
117
Piano Facile
83
Instruments en Do
48
Orgue
45
1 Piano, 4 mains
24
2 Pianos, 4 mains
13
Piano Quatuor: piano, violon, alto, violoncelle
12
Piano Trio: piano, violon, violoncelle
7
Accompagnement Piano
7
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano (partie séparée)
4
Accordéon
3
Piano grosses notes
2
Clavecin
2
1 Piano, 6 mains
1
2 Accordéons
1
+ 13 instrumentations
Retracter
Guitares
Guitare
51
Ukulele
42
Guitare notes et tablatures
34
Ligne De Mélodie, (Paroles) et Accords
14
Guitare (partie séparée)
9
4 Guitares (Quatuor)
9
2 Guitares (duo)
4
Dulcimer
3
Basse electrique
2
Mandoline
2
Banjo
1
Piano, Guitare (duo)
1
3 Guitares (trio)
1
Ensemble de guitares
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
246
Chorale 3 parties
84
Chorale 2 parties
41
Chorale TTBB
35
Chorale SSAA
22
Chorale Unison
17
Voix duo, Piano
9
Voix Soprano, Piano
7
Voix Baryton, Piano
5
Voix haute
5
Voix Alto, Piano
5
Voix Tenor, Piano
3
Voix duo
3
Voix moyenne, Piano
2
Voix seule
2
Voix basse, Piano
1
Chorale
1
Voix Tenor
1
+ 13 instrumentations
Retracter
Vents
Flûte traversière et Piano
84
Quatuor de Saxophones: 4 saxophones
83
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
80
Clarinette et Piano
63
Saxophone Alto et Piano
53
Hautbois, Piano (duo)
52
Flûte, Hautbois, Clarinette, Basson
51
Saxophone (partie séparée)
38
2 Saxophones (duo)
37
Saxophone Soprano et Piano
36
Quintette de Saxophone: 5 saxophones
35
Clarinette
35
2 Flûtes traversières (duo)
32
Saxophone Tenor et Piano
32
Flûte traversière
32
Saxophone Alto
31
2 Clarinettes (duo)
30
Quatuor de Clarinettes: 4 clarinettes
24
Saxophone Baryton, Piano
21
Saxophone Tenor
21
Ensemble de Flûtes
19
Ensemble de Clarinettes
16
Flûte, Clarinette (duo)
15
Cor anglais, Piano
13
Hautbois (partie séparée)
12
Saxophone, Clarinette (duo)
12
Clarinette, Trompette (duo)
11
Clarinette, Violon (duo)
11
Quatuor de Flûtes : 4 flûtes
10
Hautbois, Basson (duo)
9
Clarinette Basse, Piano
9
Flûte, Alto (duo)
8
Quintette de Clarinettes: 5 clarinettes
7
2 Hautbois (duo)
7
Hautbois, Flûte
7
Hautbois, Clarinette (duo)
7
Flûte à Bec
6
Flûte, Trompette (duo)
6
Trio de Flûtes: 3 flûtes
6
3 Clarinettes (trio)
6
5 Flûtes à bec
5
Clarinette et Alto
5
Clarinette, Guitare (duo)
5
Ensemble de saxophones
4
Flûte, Violon
4
Saxophone Soprano
4
Flûte, Clarinette, Piano (trio)
4
Flûte, Saxophone (duo)
4
Flûte, Violon, Piano
3
Flûte et Guitare
3
Quatuor de Flûtes à bec
3
Hautbois, Guitare (duo)
3
Clarinette, Basson (duo)
3
Cor anglais, Guitare (duo)
3
Hautbois
3
Quintette de Flûte : 5 flûtes
3
2 Flûte à bec (duo)
3
Clarinette, Violoncelle (duo)
2
Piccolo, Piano
2
Clarinette, Violoncelle, Piano (trio)
2
Flute (partie séparée)
2
Saxophone et Harpe
2
Harmonica
2
Saxophone Baryton
2
3 Saxophones (trio)
2
Flûte, Hautbois (duo)
2
2 Flûtes traversières, Piano
1
Flûte à bec Alto, Basse continue
1
Flûte, Hautbois, Clarinette (trio)
1
Hautbois, violon (duo)
1
Clarinette, Trombone (duo)
1
Flûte, Clarinette et Basson
1
Clarinette, Harpe (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Violoncelle, Guitare
1
Flûte à bec Soprano, Piano
1
Flute, alto, violoncelle et guitare
1
Flûte, Basson et Piano
1
Hautbois et alto (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Cor Anglais
1
Saxophone et Guitare
1
Flûte, Hautbois, Piano (trio)
1
+ 78 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
68
Trombone et Piano
45
Quatuor de Cuivres : 2 trompettes, trombone, tuba
40
Trompette
39
Trompette, Piano
35
Cor et Piano
29
Trombone (partie séparée)
22
Trombone
21
Cor
21
Tuba et Piano
20
Quatuor de Cuivres: 2 trompettes, Cor, trombone
18
Trompette (partie séparée)
15
Cor anglais, Piano
13
Trompette, Saxophone (duo)
11
Tuba
11
Euphonium, Piano (duo)
10
2 Trompettes (duo)
10
2 Trombones (duo)
8
Trompette, Trombone (duo)
6
Quatuor de Cuivres
5
Ensemble de Trombones
5
2 Cors (duo)
4
Quatuor de cuivres: 4 trombones
4
Ensemble de Trompettes
3
Cor anglais, Guitare (duo)
3
Trompette, violon (duo)
3
Ensemble de Cors
2
Trio de Cuivres
2
2 Euphoniums et 2 Tubas
2
Quatuor de cuivres: 4 cors
2
Trompette, Cor (duo)
1
Cor (partie séparée)
1
Cor et Harpe
1
3 Trombones (trio)
1
Tuba et Orgue
1
Tuba (partie séparée)
1
Trompette, Harpe
1
Cor Anglais
1
+ 33 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
194
Violon et Piano
93
Violoncelle, Piano
74
Alto, Piano
66
Violon
54
Violoncelle
46
Harpe
43
2 Violons (duo)
28
Trio à Cordes: violon, alto, violoncelle
26
Violon, Violoncelle (duo)
25
Contrebasse, Piano (duo)
20
Trio à Cordes: 2 violons, violoncelle
15
Alto seul
15
Violon, Alto (duo)
14
2 Violoncelles (duo)
12
Contre Basse
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
9
2 Altos (duo)
9
Alto (partie séparée)
9
Contrebasse (partie séparée)
6
Violon (partie séparée)
5
2 Harpes (duo)
4
Trio à cordes: 3 violins
3
Violoncelle, Contrebasse (duo)
3
Violoncelle , Guitare (duo)
3
Violon, Guitare (duo)
2
Alto, Violoncelle (duo)
2
Harpe, Violon (duo)
2
4 Violoncelles
2
Harpe, Flûte (duo)
2
Ensemble de Violons
2
Piano Trio: Violon, Alto, Piano
2
Violoncelle (partie séparée)
2
Alto et Basson
1
Trio à Cordes: 3 violoncelles
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Trio à Cordes: 2 violons, alto
1
Alto et Harpe
1
Violoncelle, Basse continue
1
Harpe, Voix
1
Violon, Clarinette, Piano (trio)
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
229
Orchestre
121
Orchestre à Cordes
92
Cloches
69
Ensemble Jazz
69
Ensemble de cuivres
61
Orchestre de chambre
27
Jazz combo
17
Ensemble de Percussions
11
Batterie
9
Fanfare
6
Batterie (partie séparée)
4
Xylophone, Piano
2
Marimba
1
Vibraphone
1
Marimba, Piano (duo)
1
Orchestre, Violon
1
3 Percussions
1
Piano et Orchestre
1
+ 14 instrumentations
Retracter
Autres
Instruments
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ALTO
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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
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
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
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Turn It Down!
2 Pianos, 4 mains
Partitions à imprimer
13 partitions trouvées
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1
Nocturne for two pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Gold and Fizdale
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Nocturne for two pianos
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Musik Fabrik Music Publishing
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1497521 By Gold and Fizdale. By Germaine Tailleferre. 20th Century,Chamber,Classical,Contemporary. Score...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1497521 By Gold and Fizdale. By Germaine Tailleferre. 20th Century,Chamber,Classical,Contemporary. Score. 5 pages. Musik Fabrik Music Publishing #1073934. Published by Musik Fabrik Music Publishing (A0.1497521). The manuscript for this Nocturne was found in Tailleferre's personal archives, which are now part of Robert Shapiro's private collection. The work was titled Partita for Two Pianos, but only the manuscript for the Nocturne was found. It appears that Tailleferre intended to adapt her Partita for Solo Piano for a piano duo for her friends Gold and Fizdale. It is likely that Gold and Fizdale arranged for the publication of two works (the Partita for Solo Piano and the serial Solo Clarinet Sonata) during the 1960s with the firm Rongwen Music, which was later acquired by Broude Brothers Limited. Thanks are due to Ronald Broude for authorizing the publication of this work.
$12.95
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
#
Classique
#
dislocation I mean a degree of
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Jenni Roditi
#
SURRENDER, Between the Octaves
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Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Say Something
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2 Pianos, 4 mains
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INTERMÉDIAIRE
#
Pop musique
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A Great Big World
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Sam C
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Say Something
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Sam Lee
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.998587 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by Sam C. Lee. Pop...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.998587 By A Great Big World. By Chad Vaccarino, Ian Axel, and Mike Campbell. Arranged by Sam C. Lee. Pop. Score. 11 pages. Sam Lee #5998079. Published by Sam Lee (A0.998587). A duet for two pianos. This arrangement takes an otherwise solemn piece and turns it into something powerful and flamboyant with the persistent heavy chords in the second piano and the striking melody in the first.
$4.99
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
#
Classique
#
dislocation I mean a degree of
#
Jenni Roditi
#
CURVE, Between the Octaves - A
#
Jenni Roditi
#
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
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
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
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
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
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
The Carousel Waltz
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2 Pianos, 4 mains
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AVANCÉ
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Comédie Musicale
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Richard Rodgers
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Richard Simm
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The Carousel Waltz
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1042682 Composed by Richard Rodgers. Arranged by Richard Simm. Broadway,Musical/Show. Score. 22 pages. R...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1042682 Composed by Richard Rodgers. Arranged by Richard Simm. Broadway,Musical/Show. Score. 22 pages. Richard Simm #647110. Published by Richard Simm (A0.1042682). The amazing harmonic and melodic gifts of Richard Rodgers, which fit so perfectly with the lyric talents of Oscar Hammerstein II, have inspired some equally amazing musical achievements in Hollywood, where some of the most remarkable musicians of our time worked upon Rodgers's original scores and enhanced them with truly wonderful orchestral arrangements of the accompaniments to the songs. Richard Simm was in turn inspired by their unsurpassed work to give this item from Carousel a new treatment as two-piano music. It was arranged with the generous permission of the Rodgers & Hammerstein company.
$12.95
Hopak, from "Sorochyntsi Fair"
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Classique
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Modest Petrovich Mussorgsky
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Richard Simm
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Hopak, from "Sorochyntsi
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1274763 Composed by Modest Petrovich Mussorgsky. Arranged by Richard Simm. 19th Century,Classical,Folk,O...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1274763 Composed by Modest Petrovich Mussorgsky. Arranged by Richard Simm. 19th Century,Classical,Folk,Opera,Romantic Period. Score. 5 pages. Richard Simm #866912. Published by Richard Simm (A0.1274763). This lively dance comes from the closing scene of Mussorgsky's comic opera, The Fair at Sorochyntsi. He wrote the libretto himself, basing it on a short Ukrainian story by Gogol, and he also arranged the Hopak for piano solo. Richard Simm has returned to the available orchestral material as the basis for his colourful 2-piano version.
$6.95
She Moved Through the Fair - arr. for 2 pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Richard Simm
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Richard Simm
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She Moved Through the Fair - a
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1183755 By Richard Simm. By Irish Folk Tune. Arranged by Richard Simm. Folk,Multicultural,Traditional,Wo...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1183755 By Richard Simm. By Irish Folk Tune. Arranged by Richard Simm. Folk,Multicultural,Traditional,World. Score. 3 pages. Richard Simm #783447. Published by Richard Simm (A0.1183755). Probably one of the loveliest folk melodies that have ever existed, this mysterious, key-elusive tune tells the story of a lover whose sweetheart has received permission from her family to marry him. He sees her move away from him at the fair, as she tells him, It will not be long, love, till our wedding day. But their love is ill-fated, as the sad ending of the story has her returning to him that night as a ghost, repeating the same words...
$6.95
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