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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
as
Non classifié
23 952
Piano & claviers
Piano seul
16 528
Piano, Voix
5 841
Piano Facile
3 625
Piano grosses notes
3 323
Orgue
3 046
Piano, Voix et Guitare
2 566
Instruments en Do
1 189
1 Piano, 4 mains
485
Piano Trio: piano, violon, violoncelle
436
Accompagnement Piano
392
Piano Quatuor: piano, 2 violons, violoncelle
177
Accordéon
166
2 Pianos, 4 mains
130
Piano Quatuor: piano, violon, alto, violoncelle
83
Piano (partie séparée)
67
Clavier
66
Orgue, Piano (duo)
43
Piano Quintette: piano, 2 violons, alto, violoncelle
42
Orgue, Trompette (duo)
42
Clavecin
30
1 Piano, 6 mains
28
2 Pianos, 8 mains
6
2 Accordéons
3
Ligne De Mélodie, Piano
3
Ensemble d'Accordéons
2
Accordéon et Orchestre
2
Orgue et Orchestre
1
Fake Book
1
Accordéon, Voix
1
+ 24 instrumentations
Retracter
Guitares
Guitare notes et tablatures
1 908
Guitare
1 563
Ligne De Mélodie, (Paroles) et Accords
616
Basse electrique
488
Mandoline
325
Ukulele
308
2 Guitares (duo)
224
Piano, Guitare (duo)
192
Guitare (partie séparée)
135
Paroles et Accords
116
4 Guitares (Quatuor)
89
Dulcimer
63
Banjo
44
3 Guitares (trio)
41
Ensemble de guitares
26
2 Dulcimers (duo)
8
Ukulele Baryton
6
Mandoline, Guitare (duo)
5
2 Ukuleles
4
Guitare, Violon, Violoncelle (trio)
4
2 Mandolines (duo)
3
Guitare Pedal Steel
3
Mandoline, Piano (duo)
3
Guitare, Quatuor à cordes
2
Guitare, Orchestre
2
Cithare
1
Orchestre à Plectres
1
Ensemble de Ukulélés
1
Dobro
1
Luth
1
+ 25 instrumentations
Retracter
Voix
Chorale SATB
7 396
Voix duo, Piano
2 329
Chorale 3 parties
2 044
Chorale 2 parties
1 584
Chorale TTBB
1 199
Chorale Unison
918
Voix duo
813
Chorale SSAA
635
Voix Soprano, Piano
187
Voix Alto, Piano
119
Voix Tenor, Piano
110
Voix haute
95
Voix seule
86
Voix Baryton, Piano
83
Pack Instrumental pour Chorale
78
Chorale
56
Voix moyenne, Piano
29
Voix basse, Piano
28
Chorale SSAATTBB
23
Voix Tenor
16
Voix basse
15
Chorale SSATTB
12
Chorale SSATB
12
Voix Mezzo-Soprano, Piano
10
Soli, choeur mixte et accompagnement
7
Voix, Guitare
5
Voix Soprano
4
Chorale SSAB, Piano
3
Male Voice
2
Chorale SSAB a cappella
2
Chorale SATTBB A Cappella
2
Chorale, Orgue
1
Voix Baryton
1
Chorale SAATB A Cappella
1
Chorale SSATBB
1
+ 30 instrumentations
Retracter
Vents
Flûte traversière et Piano
2 079
2 Saxophones (duo)
1 744
Quatuor de Saxophones: 4 saxophones
1 675
Clarinette et Piano
1 549
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1 537
Hautbois, Piano (duo)
1 514
Flûte, Hautbois, Clarinette, Basson
1 322
Saxophone Alto et Piano
1 315
Quatuor de Clarinettes: 4 clarinettes
1 084
Saxophone Tenor et Piano
1 067
2 Flûtes traversières (duo)
930
Flûte traversière
866
2 Clarinettes (duo)
840
Quintette de Saxophone: 5 saxophones
785
Saxophone Soprano et Piano
757
Clarinette
690
Saxophone (partie séparée)
657
Saxophone Alto
654
Flûte, Clarinette (duo)
553
Saxophone Tenor
475
Quatuor de Flûtes : 4 flûtes
466
Ensemble de Clarinettes
403
Saxophone, Clarinette (duo)
378
3 Saxophones (trio)
337
Ensemble de saxophones
325
Hautbois (partie séparée)
311
Saxophone Baryton, Piano
311
Clarinette, Violon (duo)
307
2 Hautbois (duo)
274
Ensemble de Flûtes
256
3 Clarinettes (trio)
244
Hautbois, Basson (duo)
220
Clarinette, Trompette (duo)
213
Cor anglais, Piano
211
Flûte et Guitare
208
Flûte, Violon
203
Trio de Flûtes: 3 flûtes
197
Quintette de Clarinettes: 5 clarinettes
196
Hautbois, Clarinette (duo)
170
Clarinette et Alto
145
Hautbois, Flûte
137
Flûte, Saxophone (duo)
137
Clarinette Basse, Piano
130
Clarinette (partie séparée)
126
Flûte, Violon, Piano
123
2 Flûte à bec (duo)
121
Flûte, Alto (duo)
119
Flûte, Trompette (duo)
116
Quintette de Flûte : 5 flûtes
108
Quatuor de Flûtes à bec
107
Clarinette, Basson (duo)
102
Saxophone Soprano
100
Hautbois
99
Flûte, Hautbois, Clarinette (trio)
91
Flûte, Clarinette et Basson
88
2 Flûtes traversières, Piano
88
Flûte à bec Soprano
83
Flûte, Violoncelle
80
Flute (partie séparée)
78
Flûte, Clarinette, Piano (trio)
74
Ensemble De Flûte à bec
69
Hautbois, Clarinette, Basson (trio d'anches)
67
Saxophone
67
Flûte, Violon et Violoncelle
66
Clarinette, Guitare (duo)
66
Clarinette, Violoncelle (duo)
66
Flûte à Bec
59
Flûte, Violoncelle, Piano (trio)
54
Saxophone Baryton
54
2 Clarinettes, Piano
53
Flûte, Hautbois (duo)
48
Clarinette, Violoncelle, Piano (trio)
46
Hautbois, Violoncelle
43
Cor Anglais
42
5 Flûtes à bec
40
Flûte à bec Alto
39
Flûte, Hautbois, Basson
37
Flûte, Basson et Piano
36
Flûte à bec Soprano, Piano
36
3 Flûtes à bec (trio)
34
Flûte, Alto et Piano
32
Flûte, trombone et piano
30
Flûte, Hautbois, Piano (trio)
29
Flûte à bec Alto, Piano
25
Flûte, Trombone (duo)
24
Flûte à bec Tenor
23
2 Saxophones, Piano
19
Hautbois, violon (duo)
19
Flûte, Clarinette, Cor, Basson (Quartet)
18
Cor anglais, Guitare (duo)
17
Clarinette, Harpe (duo)
17
Flute, harpe et violon
16
Saxophone et Guitare
16
Hautbois et alto (duo)
15
Flûte, Violon, Violoncelle et Piano
15
Ocarina
13
Piccolo, Piano
13
Clarinette, Trombone (duo)
13
Clarinette, Basson, Piano (trio)
12
Clarinette, trompette et piano
12
Saxophone et Harpe
12
Flûte traversière, Orgue (duo)
11
Ensemble à vent
10
Clarinette, Alto et Piano (trio)
10
Harmonica
10
Hautbois, Harpe
10
Hautbois, Guitare (duo)
10
Hautbois, Clarinette et Piano (Trio)
9
Flûte, Tuba (duo)
9
2 Clarinettes, Basson
9
Flûte et Trio à cordes
9
Clarinette, Contrebasse (duo)
8
Flûte, Violoncelle, Guitare
8
2 Cors Anglais Et Pianoforte
7
4 Hautbois
7
Flûte, Harpe et Violoncelle
7
Piccolo
7
Hautbois, Violon, Piano
6
Clarinette Basse
6
Ensemble de Hautbois
5
Hautbois, Violoncelle et Piano
5
Clarinette, Tuba
5
Flûte irlandaise
5
Saxophone, Violon (duo)
5
Hautbois, Basson et Piano
5
Saxophone et Orgue
5
Flûte traversière, Basse continue
4
3 Hautbois
4
Flûte à bec, Guitare (duo)
4
Hautbois, trombone (duo)
4
Instruments en Mib
4
Flute, Cor (duo)
4
Clarinette, Orgue
3
Flûte de Pan
3
Hautbois, Violin, Alto et Violoncelle (Quatuor)
3
Cornemuse
3
Flûte, Alto et Violoncelle
2
Flûte, alto et harpe
2
Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
Flûte à Bec, Piano
2
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
2
2 Flûtes à bec, Piano
2
Flûte, Violon, Guitare
2
Flûte, Hautbois, Violon
2
Flûte à bec Alto, Basse continue
2
Flûte traversière, Orchestre
1
Flûte, Clarinette, Violon (trio)
1
Saxophone, Tuba (duo)
1
Clarinette, Orchestre
1
2 Hautbois et Basson
1
2 Flûtes à bec, Guitare
1
Flute, alto, violoncelle et guitare
1
Cor anglais et Harpe (duo)
1
Clarinette, Saxophone, Piano
1
Hautbois, Trompette (duo)
1
Flûte à bec Soprano, Basse continue
1
Flûte à bec, Harpe
1
2 Flûtes traversières, Harpe
1
Flûte et Quatuor à Cordes
1
2 Hautbois, 2 Cors et 2 Bassons
1
+ 155 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1 741
Trombone et Piano
1 297
Trompette, Piano
1 169
Quatuor de Cuivres : 2 trompettes, trombone, tuba
958
Trompette
899
Cor et Piano
684
2 Trompettes (duo)
522
Trombone
508
2 Trombones (duo)
493
Trombone (partie séparée)
423
Trompette (partie séparée)
408
Tuba et Piano
359
Quatuor de Cuivres: 2 trompettes, Cor, trombone
354
Quatuor de Cuivres
326
Cor
326
Trompette, Saxophone (duo)
273
Trompette, Trombone (duo)
264
2 Cors (duo)
251
Euphonium, Piano (duo)
238
Trompette, Cor (duo)
237
Quatuor de cuivres: 4 trombones
229
Tuba
218
Cor anglais, Piano
211
Ensemble de Trompettes
131
Ensemble de Trombones
129
Quatuor de cuivres: 4 cors
121
Cor (partie séparée)
91
2 Tubas (duo)
76
Tuba (partie séparée)
59
Quatuor de cuivres: 4 trompettes
56
Ensemble de Cors
51
2 Euphoniums et 2 Tubas
51
Euphonium
47
4 Tubas
47
3 Trombones (trio)
47
Cor Anglais
42
Trio de Cuivres
33
Euphonium, Tuba (duo)
31
3 Trompettes (trio)
28
Quatuor de cuivres: 2 trompettes, 2 trombones
27
Trompette, Violoncelle et Piano
24
Trompette, Violoncelle (duo)
22
Trombone, Orgue
22
Cor, Violoncelle (duo)
21
Tuba et Orgue
20
Trombone, Cor (duo)
19
Cor anglais, Guitare (duo)
17
Trombone, Tuba (duo)
17
Trompette, Tuba (duo)
16
Trompette, violon (duo)
14
3 Cors (trio)
14
Cor, Tuba (duo)
13
3 Tubas (trio)
12
Cor et Harpe
11
Trombone basse
11
Trompette, Basson (duo)
10
Bass Clef Instruments
10
Trombone basse et Piano
10
Trompette et Guitare
8
2 Trompettes, Clavier (piano ou orgue)
8
Trompette, Harpe
8
3 Euphoniums
7
2 Cors Anglais Et Pianoforte
7
2 Euphoniums (duo)
7
Instruments en Sib
6
Clarinette, Cor (duo)
6
Cor et Basson (duo)
5
Trompette, Trombone, Piano
5
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
5
Trombone et orchestre
5
2 Trombones, Piano
4
Trombone, Violon (duo)
4
Cor et Orgue
4
2 Cors, Piano
2
Instruments en Fa
1
Trompette, Euphonium (duo)
1
Cor anglais et Harpe (duo)
1
Cornet et orchestre
1
Ensemble de Tubas
1
Cor, Violoncelle et Piano
1
Cor, Trompette, Trombone (trio)
1
+ 76 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
4 024
Violon et Piano
2 626
Violoncelle, Piano
1 539
Alto, Piano
1 508
Violon
1 317
Violon, Violoncelle (duo)
1 122
Violoncelle
866
Harpe
777
Trio à Cordes: violon, alto, violoncelle
776
2 Violons (duo)
733
2 Violoncelles (duo)
617
Violon, Alto (duo)
492
Quintette à cordes: 2 violons, alto, violoncelle, basse
473
Alto seul
430
2 Altos (duo)
396
Piano Trio: Violon, Alto, Piano
320
Contrebasse, Piano (duo)
296
Trio à Cordes: 2 violons, violoncelle
286
Violon (partie séparée)
211
Contre Basse
199
Alto (partie séparée)
169
Contrebasse (partie séparée)
158
4 Violoncelles
135
Violon, Guitare (duo)
123
2 Harpes (duo)
110
Alto, Violoncelle (duo)
106
Trio à cordes: 3 violins
105
Quatuor à cordes: 4 violons
82
Trio à cordes
65
Trio à Cordes: 3 violoncelles
63
Violoncelle, Contrebasse (duo)
58
Harpe, Violon (duo)
56
Harpe, Flûte (duo)
54
Violoncelle , Guitare (duo)
53
Quatuor à cordes : 4 altos
48
Violoncelle (partie séparée)
48
2 Contrebasses (duo)
46
Alto, Guitare (duo)
44
Violon, Basson (duo)
44
Trio à cordes: 3 altos
39
Ensemble de Violons
32
Harpe, Violoncelle (duo)
31
Ensemble d'Altos
28
Trio à Cordes: 2 violons, alto
28
4 Contrebasses
28
Alto et Harpe
27
Harpe, Voix
26
Violon, Clarinette, Piano (trio)
26
Quintette à cordes: 2 violons, 2 altos, violoncelle
23
Flûte, Contrebasse (duo)
21
Alto et Basson
17
3 Contrebasses
13
2 Violons, Piano
11
Violon, Orgue
10
Harpe, Violon, Violoncelle
10
Quintette à cordes : 2 violons, alto et 2 violoncelles
9
Violoncelle, Orgue
9
Ensemble de Violoncelles
8
2 Violoncelles, Piano
7
Violon, Tuba (duo)
6
Violoncelle, Orchestre
6
Alto, Orgue
4
Violon, Violoncelle, Clarinette
4
Violon, Basse continue
4
Violoncelle, Basse continue
4
Autoharp
3
Harpe (partie séparée)
3
Harpe et Piano
3
Harpe, Trombone (duo)
3
Violon, Trompette et Piano
3
Harpe et mandoline
3
Harpe, Quatuor à cordes
1
2 Violons et Basse continue
1
3 Harpes
1
Alto et orchestre
1
2 Altos, Piano
1
4 Harpes
1
+ 72 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
6 857
Orchestre à Cordes
2 048
Orchestre
1 618
Ensemble Jazz
1 387
Ensemble de cuivres
1 134
Cloches
1 114
Orchestre de chambre
626
Fanfare
509
Jazz combo
436
Batterie
209
Ensemble de Percussions
183
Batterie (partie séparée)
85
Percussion (partie séparée)
75
Marimba
69
Xylophone, Piano
48
Vibraphone
23
Xylophone
19
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
15
Piano et Orchestre
12
2 Xylophones
10
Big band
10
Ensemble d'École
8
Percussion
8
Timbales (partie séparée)
7
Instrumentation Flexible
6
Orchestre, Violon
6
Vibraphone et Marimba
5
Quintette de Cuivres: autres combinaisons
3
Marimba, Piano (duo)
2
Caisse Claire
2
Bongos
1
Trio à Vent: 3 instruments à vents
1
2 Caisses Claires (duo)
1
Quatuor à Vent : 4 instruments à vents
1
Conga
1
Quintette à Vent
1
2 Marimbas
1
+ 32 instrumentations
Retracter
Autres
Théorie de la musique
7
Formation musicale - Solfège
3
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
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…
TANGO
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As It Was
#
2 Pianos, 4 mains
#
INTERMÉDIAIRE
#
Pop musique
#
Harry Styles
#
HarvardTHUD
#
As It Was
#
HarvardTHUD
#
SheetMusicPlus
By Harry Styles. By Thomas Hull, Tyler Johnson, and Harry Styles. Arranged by HarvardTHUD. Pop. Score. 9 pages. HarvardTHUD #689222. Published by Harv...
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By Harry Styles. By Thomas Hull, Tyler Johnson, and Harry Styles. Arranged by HarvardTHUD. Pop. Score. 9 pages. HarvardTHUD #689222. Published by HarvardTHUD
$4.99
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
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
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
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
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
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
Baoba
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2 Pianos, 4 mains
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Sergio Roberto de Oliveira
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Baoba
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Sergio Roberto de Oliveira
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.962351 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score. 12 pages. Sergio Roberto de...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.962351 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score. 12 pages. Sergio Roberto de Oliveira #4822133. Published by Sergio Roberto de Oliveira (A0.962351). Falls House Press has published his works Faces and Mot pour Laura in the United States. Various articles in specialized journals and sites have cited the composer, such as the Flutist Quarterly (Circus Brasilis - The flute music of Sergio Roberto de Oliveira), Early Music America (Something New for Early Music), Andante.com (The heirs of Villa-Lobos), 21st Century Music, Musicabrasileira.org, etc. Sergio Roberto de Oliveira has frequently been invited to lecture at American universities, and has spoken at more than a dozen institutions including Princeton and Duke. In 2009 he was Artist-in-Residence at Duke University. In addition the USA and the UK, Oliveira's music has also been played in many countries, with invitations for concerts exclusively with his music in México, Italy and Holland (Amsterdam). The Spanish Magazine Sonograma has published 2 interviews with Sergio.Sergio is the founder and a member of the group of composers Prelúdio 21. The group is one of the most active worldwide. It holds a distinguished place in Brazilian contemporary music, having been active for 15 consecutive seasons, with a permanent series of monthly concerts since 2008. In 2011 the group released the CD String Quartets, with performances by the Quarteto Radamés Gnattali. Oliveira is also a member of the group of composers Vox Novus, based in New York.To commemorate 15 years of activity as a composer, Oliveira released a box set with 4 CDs, as well as a CD with composer Mark Hagerty, and produced the series QUINZE, with 13 concerts including his works, between July and October of 2012. More than 130 musicians, including 28 composers, participated of QUINZE (CDs and series).His discography includes 14 CDs as producer, 14 as composer, 22 as general producer, 2 as arranger and 2 as pianist. His catalog of compositions includes approximately 115 works for various ensembles, including Symphony Orchestra. Sergio Roberto de Oliveira is a member of the Latin Academy of the Arts and Science of Recording.He died from pancreatic cancer in 2017.
$8.55
Harmonic Spaces (four-hands piano)
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2 Pianos, 4 mains
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AVANCÉ
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Contemporain
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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
Swing Low, Sweet Chariot (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
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FACILE
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Gospel Spirituel
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Musique Sacrée
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Sharon Wilson
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Sharon Wilson
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Swing Low, Sweet Chariot
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Sharon Wilson
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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
Clementi - Sonatina Op36 No3 1st Mvt - 2nd. Piano Part
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2 Pianos, 4 mains
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FACILE
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TK Tim Murray
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tkmurraycomp@aol
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Clementi - Sonatina Op36 No3 1
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TK
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.824029 Composed by TK Tim Murray. Classical,Standards. Score. 4 pages. TK (Tim) Murray #4786377. Publish...
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2 Pianos,4 Hands,Piano Duet - Level 2 - SKU: A0.824029 Composed by TK Tim Murray. Classical,Standards. Score. 4 pages. TK (Tim) Murray #4786377. Published by TK (Tim) Murray (A0.824029). This 2nd Piano part is a beautifully stylistic and equal in interest duet part for the original - making the whole performance experience even more enjoyable. It can be used by a teacher to motivate their student in lessons or, as was intended, it is a 2nd part for Concert performance.Originally from Glasgow, Timothy studied at the Royal College of Music, London and the Banff Centre, Canada. He was the Pianist for the Isis Piano Trio and Ballet Creations and is now in demand as an accompanist and chamber musician having performed with artists such as Dame Sarah Connolly and Tasmin Little. He has toured widely internationally and has recorded for BBC Radio 3 and Classic FM as well as TV appearances in Russia and Egypt. Murray’s compositions have been recorded by The Fibbonnaci Sequence and Piers Lane among others with reviews such as ‘Corruscating’ (Independent) and ‘Highly imaginative’ (The Sunday Times). Contact; tkmurraycomp@aol.com
$6.95
Dance of the Comedians (from The Bartered Bride)
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2 Pianos, 4 mains
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AVANCÉ
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Bedrich Smetana
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Patrick Speckamp
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Dance of the Comedians
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Patrick Speckamp
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1433983 Composed by Bedrich Smetana. Arranged by Patrick Speckamp. 19th Century,Classical. Score. 21 pag...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1433983 Composed by Bedrich Smetana. Arranged by Patrick Speckamp. 19th Century,Classical. Score. 21 pages. Patrick Speckamp #1014212. Published by Patrick Speckamp (A0.1433983). This is a two-piano version of B. Smetana's ever popular and energetic Dance of the Comedians. Smetana employed the lively Czech folk dance Skočná in the third act of his opera The Bartered Bride, where a circus troupe performs an array of tricks and acrobatics. The transcription is intended to be played by two pianists at two pianos. The original orchestral score has been rendered as accurately as possible, while also keeping issues of piano-specific playability in mind. Where appropriate, slight changes to the original text (such as changes in register, piano-specific figurations) have been made to either enhance the overall sound impression and/or to improve playability on the piano. The difficulty level of the arrangement is high-intermediate to advanced. That said, Dance of the Comedians is a rewarding and fun piece - as well as a genuine crowd-pleaser - that may be performed by skilled amateurs and professional pianists alike.
$9.99
Stomp!
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2 Pianos, 4 mains
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DÉBUTANT
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Alison Mathews
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Stomp!
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Alison Mathews
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 1 - SKU: A0.1218255 Composed by Alison Mathews. Children,Contemporary,Instructional,Jazz,Pop. Score. 14 pages. Aliso...
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2 Pianos,4 Hands,Piano Duet - Level 1 - SKU: A0.1218255 Composed by Alison Mathews. Children,Contemporary,Instructional,Jazz,Pop. Score. 14 pages. Alison Mathews #814711. Published by Alison Mathews (A0.1218255). Stomp! is a very lively beginners piano ensemble for 4 or 6 hands with body percussion and swapping parts. There are 6 different scores including those for pre-readers, beginner readers and a full score for the teacher. It’s ideal as a rote piece too as it’s very easily memorised and could even be used by 4 students! Parts include swap sheets for 1 or 2 students as well as a version where there are no swapping parts. It’s perfect as a recital showstopper or finale!
$4.99
Alone
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Marshmello
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JoLaYo
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Alone
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Josiah Yowell
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.891220 By Marshmello. By Marshmello. Arranged by JoLaYo. Contemporary. Score. 15 pages. Josiah Yowell #4...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.891220 By Marshmello. By Marshmello. Arranged by JoLaYo. Contemporary. Score. 15 pages. Josiah Yowell #4791595. Published by Josiah Yowell (A0.891220). This is a 2 Piano arrangement of the popular song Alone written by Marshmello. In addition to the full score (both piano parts side-by-side), there is an individual copy of each piano part included in the arrangement. This way, you only have to make one copy and you won't have to make as many page turns. Also, you can even have the option of playing the Piano 1 part as a solo arrangement!As an arranger/transcriber, I strive to make my arrangements/sheets as high-quality and performer-friendly as possible. If you enjoy this arrangement, please feel free to contact me to make requests for future arrangements!Email me at: sebbyomusic@gmail.com
$4.99
Piano Quintet in A minor
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2 Pianos, 4 mains
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AVANCÉ
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Florence B
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Mena Williams (b
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Piano Quintet in A minor
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Mena C. Williams | The Unfinished Symphony
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1440150 Composed by Florence B. Price (1887-1953). Arranged by Mena Williams (b. 2002). 20th Century,Cla...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1440150 Composed by Florence B. Price (1887-1953). Arranged by Mena Williams (b. 2002). 20th Century,Classical. Score. 90 pages. Mena C. Williams | The Unfinished Symphony #1020099. Published by Mena C. Williams | The Unfinished Symphony (A0.1440150). In 1903, Florence B. Price (1887-1953) attended the New England Conservatory for piano, organ, and composition. When Price graduated from NEC in 1910, she returned to Arkansas, bringing music education to her hometown. Unfortunately, due to increased racially charged hostility within Little Rock, Arkansas, Florence Price and many other families who participated in the Great Migration moved to Chicago in 1927, where she found new musical studies and performance opportunities. The opportunity that launched Price’s musical career as a composer was when she won the Wanamaker Prize in 1932 for her Symphony in e minor and became the first Black woman composer to have a major orchestral work performed by an American orchestra. Four years later, Price composed Quintet in a minor for Piano and Strings. Within the Quintet, there are four movements, the “Allegro non troppo”, the “Andante con moto”, the “Juba”, and the “Scherzo”. Quintet in A Minor for Piano and Strings utilizes many of Florence Price’s trademark stylistic ideas, imbuing her music with harmonic freshness and a creative and organic structural approach as well as melodies that reflect her spiritual and cultural heritage, all stemming from how Price’s music brings together the European-classical tradition and African American spirituals and folk tunes. Florence Price was a deeply religious person who brought the music of the African American church and the influences of Romantic composers such as Dvořák and Tchaikovsky. Thus further resulting in the overall appeal of Price’s music. The captivating lyricism and juba (a dance that originated from plantation enslaved people in the Southern US) rhythmic devices.
$4.99
Germaine Tailleferre: Trois Études for two pianos
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2 Pianos, 4 mains
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AVANCÉ
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achieving the physical decline
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Germaine Tailleferre
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Germaine Tailleferre: Trois &E
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. ...
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Instrumental Duet Instrumental Duet,Piano - Level 5 - SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.
$32.95
Muzio Clementi Sonatine Op. 36 No. 1 Second Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743883 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 3 pages. Philip Kim #190030...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743883 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 3 pages. Philip Kim #1900307. Published by Philip Kim (A0.743883). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 3rd movements are uploaded separately as well as all 3 movements combined as a single file. Youtube link: https://youtu.be/5lqLu3VpCiE.
$7.00
Muzio Clementi Sonatine Op. 36 No. 4 Third Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743888 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 6 pages. Philip Kim #190043...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743888 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 6 pages. Philip Kim #1900431. Published by Philip Kim (A0.743888). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 2nd movements are uploaded separately as well as all 3 movements combined as a single file.
$7.00
Muzio Clementi Sonatine Op. 36 No. 4 Second Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743887 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 5 pages. Philip Kim #190042...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743887 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 5 pages. Philip Kim #1900429. Published by Philip Kim (A0.743887). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 3rd movements are uploaded separately as well as all 3 movements combined as a single file. Youtube link: https://youtu.be/7E9kW5jKRpQ.
$7.00
Muzio Clementi Sonatine Op. 36 No. 1 Third Movement for 2 Pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Classique
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Muzio Clementi
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Philip Kim
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Muzio Clementi Sonatine Op. 36
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Philip Kim
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743884 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 4 pages. Philip Kim #190030...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.743884 Composed by Muzio Clementi. Arranged by Philip Kim. Classical. Score. 4 pages. Philip Kim #1900309. Published by Philip Kim (A0.743884). I wrote a second piano part for this lovely sonatine by Clementi for my students to introduce them to chamber music. I hope you enjoy them as well. 1st and 2nd movements are uploaded separately as well as all 3 movements combined as a single file. Youtube link: https://youtu.be/rZAYONZHKRo.
$7.00
More Piano Sight-Reading 2
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2 Pianos, 4 mains
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FACILE
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More Piano Sight-Reading 2
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Schott Music - Digital
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SheetMusicPlus
Piano (2- and 4-hands) - easy to intermediate - SKU: S9.Q19483 Additional material for piano solo and duet. This edition: Sheet music. Schott Sig...
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Piano (2- and 4-hands) - easy to intermediate - SKU: S9.Q19483 Additional material for piano solo and duet. This edition: Sheet music. Schott Sight-Reading Series. Downloadable. Op. 2. Schott Music - Digital #Q19483. Published by Schott Music - Digital (S9.Q19483). English â?¢ French â?¢ German.This collection of original tunes is an ideal extension of Piano Sight-Reading 2 (ED 12791), or a continuation of Piano Sight-Reading 1 (ED 12736), which presents 144 carefully graded sight-reading pieces and exercises in a range of musical styles. Taking an approach based on self-learning, the 7 sections of the book focus on developing different key technical skills as well as introducing the student to a plethora of musical terms. Each section of the book contains solos, as well as piano duets for practising ensemble sight-reading. Suitable for preliminary, to advanced level students. Part of the comprehensive Sight-Reading series published by Schott and edited by John Kember. PIANO SIGHT-READING and MORE PIANO SIGHT-READING - press reviews The books have a classy presentation, with notation nicely engraved and well spaced ... For those looking for an authoritative and well structured approach to learning real-world sight-reading skills, John Kemberâ??s â??Piano Sight-Reading Seriesâ?? jumps to the top of my list of recommendations. - PIANODAO.COM.
$13.99
Vltava (Moldau)
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2 Pianos, 4 mains
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AVANCÉ
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Richard Simm
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Richard Simm
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Vltava
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1464123 By Richard Simm. By Bedrich Smetana. Arranged by Richard Simm. 19th Century,Classical,Folk,Multi...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.1464123 By Richard Simm. By Bedrich Smetana. Arranged by Richard Simm. 19th Century,Classical,Folk,Multicultural,Romantic Period,World. Score. 9 pages. Richard Simm #1042836. Published by Richard Simm (A0.1464123). Smetana struggled hard for recognition in his life as a composer, but in his later years his major contribution to a Czech national style in music was acknowledged. Vltava is a marvellous orchestral depiction of the river that flows through Prague, reflecting the aspect of realism which was part of his romantic inspiration.This 2-piano arrangement by Richard Simm is pianistically advanced in order to retain as much as possible of the original's rich orchestral texture, but the focus is on the beautiful main theme of the work, concluding with Smetana's rather Wagnerian coda. Polished pianists will enjoy taking part in the powerful, surging flow of this descriptive work.
$8.95
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