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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
Wing
Non classifié
5 807
Piano & claviers
Piano seul
4 702
Piano, Voix
1 737
Piano, Voix et Guitare
1 233
Piano Facile
1 138
Instruments en Do
672
1 Piano, 4 mains
206
Orgue
183
Piano (partie séparée)
153
Accompagnement Piano
136
Piano Trio: piano, violon, violoncelle
78
Piano grosses notes
77
Accordéon
68
2 Pianos, 4 mains
34
Piano Quatuor: piano, violon, alto, violoncelle
25
Piano Quintette: piano, 2 violons, alto, violoncelle
13
1 Piano, 6 mains
9
Ligne De Mélodie, Piano
8
Clavecin
5
Piano Quatuor: piano, 2 violons, violoncelle
5
Orgue, Piano (duo)
3
2 Pianos, 8 mains
3
Accordéon et Orchestre
2
Ensemble de Pianos
1
Fake Book
1
Accordéon, Voix
1
Instrument seul et Orgue
1
+ 21 instrumentations
Retracter
Guitares
Guitare notes et tablatures
608
Guitare
526
Guitare (partie séparée)
331
Ligne De Mélodie, (Paroles) et Accords
327
Paroles et Accords
133
Ukulele
117
Basse electrique
76
2 Guitares (duo)
48
4 Guitares (Quatuor)
24
Mandoline
18
3 Guitares (trio)
17
Dulcimer
16
Piano, Guitare (duo)
16
Banjo
16
Ensemble de guitares
9
Partitions De Groupes
3
Dobro
2
Guitare Pedal Steel
2
2 Ukuleles
2
Ukulele Baryton
1
Ensemble de Ukulélés
1
+ 16 instrumentations
Retracter
Voix
Chorale SATB
1 819
Chorale 3 parties
763
Chorale 2 parties
399
Chorale TTBB
349
Chorale Unison
314
Chorale SSAA
198
Voix duo, Piano
84
Pack Instrumental pour Chorale
60
Chorale
58
Voix seule
39
Voix haute
27
Voix Alto, Piano
19
Voix duo
17
Voix Soprano, Piano
16
Voix moyenne, Piano
13
Voix Tenor, Piano
12
Voix Baryton, Piano
11
Voix basse, Piano
8
Chorale SSAATTBB
5
Chorale SSATB
2
Chorale SSATTB
2
Voix Tenor
2
Voix, Guitare
1
Voix Moyenne
1
Soli, choeur mixte et accompagnement
1
Voix Baryton
1
Voix basse
1
Chorale SSAB a cappella
1
Voix haute, Piano
1
Chorale SATTBB A Cappella
1
Voix Mezzo-Soprano, Piano
1
Chorale SSAB, Piano
1
Chorale SSAATB
1
+ 28 instrumentations
Retracter
Vents
Saxophone (partie séparée)
1 046
2 Saxophones (duo)
582
Quatuor de Saxophones: 4 saxophones
526
Flûte traversière et Piano
458
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
378
Clarinette et Piano
372
Quatuor de Clarinettes: 4 clarinettes
352
Flûte traversière
340
Clarinette
324
2 Flûtes traversières (duo)
296
Flûte, Hautbois, Clarinette, Basson
295
Hautbois, Piano (duo)
286
2 Clarinettes (duo)
272
Saxophone Alto
225
Quintette de Saxophone: 5 saxophones
224
Saxophone Alto et Piano
190
Quatuor de Flûtes : 4 flûtes
178
Clarinette (partie séparée)
176
Saxophone Tenor
169
Saxophone, Clarinette (duo)
159
Saxophone Tenor et Piano
155
Flute (partie séparée)
140
Clarinette, Violon (duo)
124
2 Hautbois (duo)
113
Hautbois (partie séparée)
112
Flûte, Clarinette (duo)
111
Clarinette, Trompette (duo)
107
Saxophone Soprano et Piano
100
3 Saxophones (trio)
98
3 Clarinettes (trio)
82
Saxophone Baryton, Piano
78
Hautbois, Clarinette (duo)
73
Quintette de Clarinettes: 5 clarinettes
71
Hautbois, Basson (duo)
70
Ensemble de saxophones
66
Clarinette et Alto
66
Flûte, Violon
66
Hautbois
63
Saxophone
62
Flûte, Saxophone (duo)
57
Flûte, Alto (duo)
55
Flûte et Guitare
50
2 Flûte à bec (duo)
49
Ensemble de Clarinettes
48
Flûte à bec Soprano, Piano
46
Hautbois, Flûte
46
Trio de Flûtes: 3 flûtes
45
Flûte, Trompette (duo)
45
Ensemble de Flûtes
45
Quatuor de Flûtes à bec
40
Cor anglais, Piano
38
Saxophone Soprano
36
Flûte à bec Soprano
30
Clarinette Basse, Piano
29
Flûte à Bec
27
Hautbois, Violoncelle
25
Flûte à bec Tenor
25
Saxophone Baryton
24
Flûte, Violon, Piano
24
Flûte à bec Alto, Piano
21
Flûte, Violoncelle
21
Instruments en Mib
21
Clarinette, Basson (duo)
20
Flûte, Clarinette et Basson
18
Harmonica
17
Flûte, Hautbois, Clarinette (trio)
17
Clarinette, Guitare (duo)
16
Flûte à bec Alto
15
Flûte, Hautbois (duo)
15
5 Flûtes à bec
14
Quintette de Flûte : 5 flûtes
14
Piccolo, Piano
12
Flûte, Basson et Piano
12
Flûte, Clarinette, Piano (trio)
11
Clarinette, Violoncelle (duo)
11
Flûte à Bec, Piano
11
Hautbois, Clarinette, Basson (trio d'anches)
10
Flûte, Hautbois, Basson
10
Cor Anglais
10
3 Flûtes à bec (trio)
9
Flûte, Clarinette, Cor, Basson (Quartet)
8
Flûte, Violon, Violoncelle et Piano
8
2 Flûtes traversières, Piano
8
Flûte, Hautbois, Piano (trio)
8
Flûte, Violon et Violoncelle
7
Clarinette Basse
6
Ocarina
6
Clarinette, Violoncelle, Piano (trio)
6
Hautbois, violon (duo)
6
2 Clarinettes, Piano
5
Hautbois, Clarinette et Piano (Trio)
5
Piccolo
5
Cor anglais, Guitare (duo)
5
2 Saxophones, Piano
5
Clarinette, Basson, Piano (trio)
5
Hautbois et alto (duo)
5
Flûte, Violoncelle, Piano (trio)
4
3 Hautbois
4
Flûte, Alto et Piano
4
Hautbois, Violon, Piano
3
Ensemble De Flûte à bec
3
Clarinette, trompette et piano
3
Flûte irlandaise
3
Clarinette, Harpe (duo)
3
Flûte à bec Alto, Basse continue
3
Flûte, Trombone (duo)
3
2 Flûtes traversières, Guitare
2
Saxophone et Harpe
2
Hautbois, Violoncelle et Piano
2
Flûte et Trio à cordes
2
Hautbois, Guitare (duo)
2
Flûte, trombone et piano
2
Flute, harpe et violon
2
Flûte traversière, Basse continue
2
Clarinette, Trombone (duo)
2
Flûte, Harpe et Violoncelle
2
Ensemble à vent
2
Saxophone et Orgue
2
Clarinette, Alto et Piano (trio)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Hautbois, Harpe
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Saxophone et Guitare
1
2 Clarinettes, Basson
1
2 Flûtes à bec, Piano
1
Flûte, Hautbois, Violon
1
Flûte, Violoncelle, Guitare
1
Flûte, Violon, Guitare
1
Saxophone et Piano
1
Flûte de Pan
1
4 Hautbois
1
Saxophone, Violon (duo)
1
Flûte traversière, Orgue (duo)
1
+ 128 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
875
Trompette (partie séparée)
683
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
471
Quatuor de Cuivres : 2 trompettes, trombone, tuba
297
Trompette
296
Trombone et Piano
229
Trombone
228
Trompette, Piano
228
Cor et Piano
224
Cor
183
Cor (partie séparée)
170
2 Trompettes (duo)
148
Tuba (partie séparée)
142
2 Trombones (duo)
136
Quatuor de Cuivres
132
Tuba
128
Trompette, Saxophone (duo)
121
Tuba et Piano
118
Trompette, Trombone (duo)
97
Quatuor de Cuivres: 2 trompettes, Cor, trombone
94
2 Cors (duo)
71
Quatuor de cuivres: 4 trombones
61
Euphonium, Piano (duo)
51
Cor anglais, Piano
38
2 Tubas (duo)
33
Ensemble de Trombones
26
Instruments en Sib
23
3 Trombones (trio)
23
Bass Clef Instruments
19
2 Euphoniums et 2 Tubas
16
Quatuor de cuivres: 4 cors
15
Trompette, Cor (duo)
14
Quatuor de cuivres: 4 trompettes
12
3 Trompettes (trio)
10
4 Tubas
10
Cor Anglais
10
Instruments en Fa
9
Euphonium, Tuba (duo)
8
Trombone basse et Piano
8
Euphonium
8
Trio de Cuivres
7
Tuba et Orgue
7
Trombone basse
6
Ensemble de Cors
6
Ensemble de Trompettes
5
Cor anglais, Guitare (duo)
5
Trompette, Violoncelle (duo)
4
Trompette, Basson (duo)
4
Cor, Tuba (duo)
4
Quatuor de cuivres: 2 trompettes, 2 trombones
4
Trombone, Cor (duo)
4
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib
3
Cor, Violoncelle (duo)
3
Trompette et Guitare
3
Trombone, Tuba (duo)
3
2 Euphoniums (duo)
3
Trompette, Tuba (duo)
2
Trompette, Trombone, Piano
2
Trompette, Violoncelle et Piano
2
Cor et Basson (duo)
2
Trompette, violon (duo)
2
Tuba ou Euphonium ou Saxhorn
2
3 Tubas (trio)
2
3 Cors (trio)
2
Trompette, Harpe
1
Clarinette, Cor (duo)
1
Trombone et orchestre
1
Cor, Violoncelle et Piano
1
Ensemble de Tubas
1
2 Cors, Piano
1
2 Trompettes, Clavier (piano ou orgue)
1
Trombone, Violon (duo)
1
Cor et Harpe
1
+ 68 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
1 163
Violon et Piano
743
Violon
576
Violoncelle, Piano
413
Violoncelle
385
Alto, Piano
320
Harpe
276
2 Violons (duo)
258
Violon, Violoncelle (duo)
222
Contrebasse (partie séparée)
217
Alto seul
212
2 Violoncelles (duo)
200
Trio à Cordes: violon, alto, violoncelle
171
Violon, Alto (duo)
170
2 Altos (duo)
153
Contrebasse, Piano (duo)
144
Quintette à cordes: 2 violons, alto, violoncelle, basse
142
Contre Basse
137
Violon (partie séparée)
108
Alto (partie séparée)
77
Trio à Cordes: 2 violons, violoncelle
77
Trio à cordes: 3 violins
51
Trio à cordes: 3 altos
36
Violon, Basson (duo)
27
Trio à Cordes: 3 violoncelles
27
Piano Trio: Violon, Alto, Piano
27
2 Contrebasses (duo)
23
Alto, Violoncelle (duo)
22
Violon, Guitare (duo)
21
4 Violoncelles
20
Violoncelle (partie séparée)
19
2 Harpes (duo)
16
Quatuor à cordes: 4 violons
16
Violoncelle, Contrebasse (duo)
12
Quatuor à cordes : 4 altos
12
Trio à Cordes: 2 violons, alto
10
Violoncelle , Guitare (duo)
8
Violon, Basse continue
6
Violon, Clarinette, Piano (trio)
6
2 Violons, Piano
6
Harpe, Violon (duo)
5
Flûte, Contrebasse (duo)
5
Alto et Basson
5
Alto, Guitare (duo)
4
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
Harpe, Flûte (duo)
3
Ensemble de Violoncelles
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Harpe, Violon, Violoncelle
3
Trio à cordes
3
3 Harpes
2
Harpe, Violoncelle (duo)
2
3 Contrebasses
2
Alto et Harpe
2
Harpe, Trombone (duo)
1
Violon, Orgue
1
Harpe, Voix
1
2 Violoncelles, Piano
1
Harpe et Piano
1
Alto et orchestre
1
4 Contrebasses
1
Harpe et mandoline
1
+ 57 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
2 505
Ensemble Jazz
1 451
Orchestre à Cordes
763
Orchestre
486
Cloches
310
Jazz combo
259
Ensemble de cuivres
235
Batterie (partie séparée)
177
Orchestre de chambre
115
Batterie
101
Fanfare
73
Percussion (partie séparée)
68
Ensemble de Percussions
39
Marimba
22
Xylophone, Piano
21
Percussion
17
Vibraphone
15
Xylophone
13
Timbales (partie séparée)
10
Quintette à Vent
7
2 Xylophones
6
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
5
Vibraphone, Piano
3
Piano et Orchestre
3
Instrumentation Flexible
3
Orchestre, Violon
2
Timbales
2
Quatuor à Vent : 4 instruments à vents
2
Caisse Claire
1
Quintette de Cuivres: autres combinaisons
1
+ 25 instrumentations
Retracter
Autres
Formation musicale - Solfège
7
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Instruments
ACCORDEON
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BALALAIKA
BANJO
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CHANT - CHO…
CHARANGO
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CONTREBASSE
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COR ANGLAIS
CORNEMUSE
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DULCIMER
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FLUTE A DIX…
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LUTH, THEOR…
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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Vous avez sélectionné:
Wing
2 Pianos, 4 mains
Partitions à imprimer
34 partitions trouvées
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1
26
Swing Low, Sweet Chariot (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
#
FACILE
#
Gospel Spirituel
#
Musique Sacrée
#
Sharon Wilson
#
Sharon Wilson
#
Swing Low, Sweet Chariot
#
Sharon Wilson
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565177 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Spir...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.565177 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Folk,Jazz,Sacred,Spiritual,Traditional. Score. 9 pages. Sharon Wilson #3516915. Published by Sharon Wilson (A0.565177). This arrangement of the traditional spiritual Swing Low, Sweet Chariot 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. When played with a swing rhythm, this spirited, slightly syncopated dual piano duet is an ideal selection for a church setting.The purchase price includes a 4-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 1-1/2 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 story of Elijah and Elisha in 2 Kings 2 as well as the promise of a future home in heaven for the saints as predicted in Matthew 24:30-31. The prophet Elijah was taken to heaven in a chariot of fire as Elisha, the prophet to take Elijah’s place, witnessed the event: As they continued on and talked, behold, a chariot of fire and horses of fire separated them, and Elijah went up by a whirlwind into heaven. 2 Kings 2:11 WEB…and they will see the Son of Man coming on the clouds of the sky with power and great glory. He will send out his angels with a great sound of a trumpet, and they will gather together his chosen ones from the four winds, from one end of the sky to the other. Matthew 24:30-31 WEBLyrics:Swing low, sweet chariot, coming for to carry me home;Swing low, sweet chariot, coming for to carry me home.I looked over Jordan and what did I see,Coming for to carry me home?A band of angels coming after me,Coming for to carry me home.
$5.99
Harmonic Spaces (four-hands piano)
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2 Pianos, 4 mains
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AVANCÉ
#
Contemporain
#
Paul SanGregory
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Harmonic Spaces
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Distant Engraver Music
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.977034 Composed by Paul SanGregory. Contemporary. Score. 29 pages. Distant Engraver Music #3536815. Publ...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.977034 Composed by Paul SanGregory. Contemporary. Score. 29 pages. Distant Engraver Music #3536815. Published by Distant Engraver Music (A0.977034). Each of these four short pieces has its own character, color and rhythmic flow. Because the interplay between parts is sometimes complex and challenging, they can provide wonderful ensemble workouts for performers as well as fun and exciting musical experiences for audiences. The title Harmonic Spaces refers to both the idea that they are musical spaces filled with colors and characters as well as to the widely-spaced harmonic intervals upon which those aspects are built. Each movement is based on one or two wide intervals that mimic the spacing of overtones (or partials) in the harmonic series. This approach allowed the composer to produce unique harmonies, colors and atmospheres. For listeners, of course, knowledge of these intervals isn't important, even though the colors, characters and atmospheres they produce is. Each movement is described briefly below: I - Simply and gracefully moving forward. (9th and 3rd partials)This gently flowing movement is a slow progression of widely-spaced chords with gracefully rising and falling strings of notes woven in and around them. The chords often appear in groups of two, with the second being quieter, like an echo of the first. That creates a sense of harmonic space within which the delicate lines move in and out of agreement with the chords.II - With a steady, even flow (or groove). (7th and 5th partials)The harmonic partials of this movement are what give dominant 7th chords their characteristic sound and function. Furthermore, because 7th chords are an important part of jazz harmony, jazz influences enter into this piece. Listeners may notice the outlines of gliding 7th chords, swinging meters and syncopated rhtyhms reminiscent of jazz.III - Gentle, flexible, but rhythmically accurate. (11th Partial)This movement unfolds slowly like a quiet summer afternoon under a shade tree watching lazy clouds. Because the 11th partial is a note that falls between the cracks of the piano keyboard, both the perfect 4th and augmented 4th (in very wide spacing) are used to approximate it. Although this creates some non-traditional harmonies and non-chord tone effects, the piece is tranquil, peaceful and beautiful. IV - With precision, energy and excitement. (13th Partial)This energetic finale uses much syncopation and rhythmic interplay as well as wide-ranging arpeggios that get shared between the two players. The primary interval often appears as widely spaced parallel motion, which adds a special color or flavor to the rhythms. The result is a joyful romp in a playground of rhythm, color, motion and contrast. (duration of all four pieces is ca. 12 minutes) This work was funded by the National Culture and Arts Foundation of Taiwan (ROC)
$10.00
Moonlight Song Arr. For 2 Piano’s
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Wen Van Dorpe
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Wendy Van Dorpe
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Moonlight Song Arr. For 2 Pian
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Wen Van Dorpe
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1247389 By Wen Van Dorpe. By Wendy Van Dorpe. Arranged by Wendy Van Dorpe. 21st Century,Contemporary,Spi...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1247389 By Wen Van Dorpe. By Wendy Van Dorpe. Arranged by Wendy Van Dorpe. 21st Century,Contemporary,Spiritual. Score. 9 pages. Wen Van Dorpe #842024. Published by Wen Van Dorpe (A0.1247389). Close your eyes and let you flow by the sweet melody into a deep sleep under a glowing moon. Â Enjoy, relax and chill out!
$5.00
Live And Let Die
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2 Pianos, 4 mains
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AVANCÉ
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Wings
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Pamela Tucker
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Live And Let Die
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Pamela Tucker
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1376305 By Wings. By Linda McCartney and Paul McCartney. Arranged by Pamela Tucker. Contemporary,Film/TV...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1376305 By Wings. By Linda McCartney and Paul McCartney. Arranged by Pamela Tucker. Contemporary,Film/TV,Pop. Score. 12 pages. Pamela Tucker #960838. Published by Pamela Tucker (A0.1376305). Two Piano Four Hands arrangement of Live and Let DieArranged by Pamela TuckerLevel: Moderately Difficult.
$7.99
Go Tell It on the Mountain/Hallelujah! (piano duet)
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2 Pianos, 4 mains
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Noël
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Traditional, G
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Anne Britt
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Go Tell It on the Mountain/Hal
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Anne Britt
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SheetMusicPlus
Composed by Traditional, G.F. Handel. Arranged by Anne Britt. Praise & Worship, Jazz, Swing, Christmas. Sheet Music Single. 12 pages. Published by Anne Britt (S...
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Composed by Traditional, G.F. Handel. Arranged by Anne Britt. Praise & Worship, Jazz, Swing, Christmas. Sheet Music Single. 12 pages. Published by Anne Britt (S0.162899). - Sheet Music Single - Praise & Worship,Jazz,Swing,Christmas - Anne Britt
$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
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
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
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
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
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
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
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
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
"Raven's Feast" from An Icelandic Suite
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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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"Raven's Feast" from
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1128421 Composed by Richard Simm. Arranged by Richard Simm. Chamber,Classical,Folk,Multicultural,Traditi...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1128421 Composed by Richard Simm. Arranged by Richard Simm. Chamber,Classical,Folk,Multicultural,Traditional,World. Score. 4 pages. Richard Simm #729041. Published by Richard Simm (A0.1128421). In the freezing Icelandic winter, a cold and hungry raven wonders what on earth a poor soul is supposed to eat. Following his nose, he gets lucky and finds a dead sheep near a garden.
$4.95
Tango for the Road - for two pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Tango
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Ofer Ben-Amots
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Tango for the Road - for two p
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The Composer's Own Press
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.944075 Composed by Ofer Ben-Amots. 20th Century,Contemporary,Latin,World. Score. 28 pages. The Composer'...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.944075 Composed by Ofer Ben-Amots. 20th Century,Contemporary,Latin,World. Score. 28 pages. The Composer's Own Press #5041193. Published by The Composer's Own Press (A0.944075). Composer's notes: I have always been fascinated by music that lives on the boundary between popular and highbrow, and Argentinian Tango falls right into this category. I wrote Tango for the Road in the summer of 2015, following an earlier tango in my Odessa Trio, titled Tango Dorfman. The genre has a number of well-defined musical characteristics, often opposing one another: it is rhythmically strict and precise, yet warm and sentimental; it carries melodious tunes accompanied by soft chromaticism and elegance, yet it conceals tremendous spark and inner-power; being a partner dance, it sometimes displays a Leader/Follower relationship and other times an equal vigor and energy between the partners.
$18.00
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
Concerto for Cembalo [Fortepiano] and Orchestra — Reduction for Two Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Johann Simon Mayr
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Fabrizio Capitanio
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Concerto for Cembalo [Fortepia
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1369322 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio. 19th Century,Classical,Instructio...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.1369322 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio. 19th Century,Classical,Instructional,Opera,Romantic Period. Score. 92 pages. Artistic Score Engraving di Galvagno Michele #953678. Published by Artistic Score Engraving di Galvagno Michele (A0.1369322). Johann Simon Mayr (1763—1845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti’s style. He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as “Lezioni Caritatevoli di Musicaâ€. One of the first pupils of the “Lezioni†was Gaetano Donizetti, whose production and fame soon arose above everyone else’s. The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr’s manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces. In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).This edition comes with the unique contribution of M° Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible. M° Capitanio also realised the reduction for two pianos for this title (ASE 0051).The full score is available under Catalogue N° ASE 0047, while orchestral parts can be found as a bundle under Catalogue N° ASE 0053.This edition is also the first one in the new series dedicated to the City of Bergamo: La Bergamasque!
$26.95
I Know Where I'm Going
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Richard Simm
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Richard Simm
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I Know Where I'm Going
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1187941 By Richard Simm. By Richard Simm. Arranged by Richard Simm. Folk,Multicultural,Traditional,World...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1187941 By Richard Simm. By Richard Simm. Arranged by Richard Simm. Folk,Multicultural,Traditional,World. Score. 2 pages. Richard Simm #787548. Published by Richard Simm (A0.1187941). This suite is based upon Richard Simm's Five Irish Melodies, which were originally composed for beginner students to play as piano duets with their teachers or with advanced students. In their new guise for two pianos, they are technically more challenging, but they have the advantage of allowing each performer total control over the subtle pedalling which is sometimes needed here. The lyrics tell of a girl who knows which man she loves, but heaven only knows which one she'll marry...
$6.95
Swanee
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2 Pianos, 4 mains
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AVANCÉ
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Paul Posnak & Anita Castiglion
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Paul Posnak
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Swanee
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Paul Posnak
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1175185 By Paul Posnak & Anita Castiglione. By George Gershwin. Arranged by Paul Posnak. 20th Century,Cl...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1175185 By Paul Posnak & Anita Castiglione. By George Gershwin. Arranged by Paul Posnak. 20th Century,Classical,Jazz,Standards. Score. 10 pages. Paul Posnak #775326. Published by Paul Posnak (A0.1175185). Arrangement for 2 pianos, 4 hands of Swanee by George Gershwin.Foreword by the arranger:George Gershwin, since his days as a teenage song-plugger in Tin Pan Alley, loved the medium of two pianos. A consummate improviser with a harmonically sophisticated, jazz-influenced,orchestral approach to the treatment of melody, he was born into the great age of touring duo piano teams, such as Bauer and Gabrilowitsch, Josef and Rhosina Levine, Luboshutz and Nemenoff, and Gershwin's favorite team, Arden and Ohman. Gershwin loved the multi-voiced orchestral color, power and range of two pianists playing and improvising together. In his first major show written with brother Ira, the 1924 Lady Be Good, he incorporated the renowned team of Phil Ohman and Victor Arden into the musical theater pit orchestra, not only to add to the orchestra's sound and rhythmic drive, but also to play during breaks in the action and during Intermission. They even played encores! This successful formula was repeated for the 1926 show, Oh, Kay, and for the 1927 show, Funny Face.Gershwin's own bravura improvisations on his songs sound, even to the trained ear, like two pianos. I have transcribed (and digitally re-recorded) a number of these improvisations note-for-note from the old LP-remastered 78 rpm records and radio broadcasts. I have tried to capture his own two-fisted orchestral keyboard style: his love of inner voices, contrapuntal runs, jazz figurations, sophisticated chordal textures, and swing.These arrangements resulted from my appearance in 2003 as one of two soloists in several all-Gershwin concerts with The National Symphony Orchestra under the direction of Marvin Hamlisch. Marvin suggested that I also play a couple of my Gershwin improvisation transcriptions, and we thought it would be a perfect touch for Lorin Hollander, the other soloist, and me to play a short two-piano piece. I was surprised to find very few two-piano arrangements of Gershwin's songs. I became inspired to fill this void in the duo piano repertoire. It is my hope that these settings will offer a worthy challenge and musical reward for intermediate and advanced piano students and amateurs, and a unique addition to the duo piano literature for professional pianists and duo piano teams the world over.Paul Posnak.
$12.00
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