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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
in just
Non classifié
3 497
Piano & claviers
Piano seul
1 723
Piano Facile
762
Piano, Voix
722
Piano, Voix et Guitare
432
Instruments en Do
161
Orgue
94
Accompagnement Piano
70
2 Pianos, 4 mains
58
1 Piano, 4 mains
57
Piano grosses notes
46
Piano Trio: piano, violon, violoncelle
32
Accordéon
26
Piano (partie séparée)
18
Piano Quatuor: piano, violon, alto, violoncelle
7
Piano Quintette: piano, 2 violons, alto, violoncelle
7
Piano Quatuor: piano, 2 violons, violoncelle
6
Clavecin
2
1 Piano, 6 mains
2
Orgue, Piano (duo)
2
2 Pianos, 8 mains
2
Ligne De Mélodie, Piano
1
Orgue, Trompette (duo)
1
+ 17 instrumentations
Retracter
Guitares
Guitare notes et tablatures
279
Guitare
185
Ligne De Mélodie, (Paroles) et Accords
81
Ukulele
77
Basse electrique
46
Guitare (partie séparée)
36
2 Guitares (duo)
34
Paroles et Accords
21
4 Guitares (Quatuor)
10
Banjo
9
Dulcimer
9
Mandoline
9
Piano, Guitare (duo)
4
Ensemble de guitares
3
Mandoline, Guitare (duo)
2
3 Guitares (trio)
2
Ukulele Baryton
1
2 Dulcimers (duo)
1
Guitare, Violon, Violoncelle (trio)
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
750
Chorale 3 parties
455
Chorale 2 parties
185
Chorale TTBB
153
Chorale SSAA
127
Chorale Unison
88
Voix duo, Piano
30
Voix duo
24
Voix haute
24
Voix seule
17
Voix Soprano, Piano
16
Voix Baryton, Piano
16
Voix basse, Piano
15
Voix Alto, Piano
14
Chorale
12
Voix Tenor, Piano
9
Pack Instrumental pour Chorale
5
Voix moyenne, Piano
4
Voix Tenor
3
Chorale SSATTB
3
Voix Mezzo-Soprano, Piano
2
Chorale SSATB
1
Voix basse
1
Chorale SAATB A Cappella
1
Voix, Guitare
1
Chorale SSAB, Piano
1
Chorale SATBB
1
+ 22 instrumentations
Retracter
Vents
2 Saxophones (duo)
286
Saxophone (partie séparée)
236
Clarinette
215
Clarinette et Piano
191
Flûte traversière et Piano
185
Flûte traversière
159
Quatuor de Saxophones: 4 saxophones
156
Flûte, Hautbois, Clarinette, Basson
152
2 Clarinettes (duo)
148
Saxophone Alto
132
Hautbois, Piano (duo)
117
2 Flûtes traversières (duo)
115
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
115
Saxophone Tenor
103
Saxophone Alto et Piano
99
Saxophone, Clarinette (duo)
90
Hautbois (partie séparée)
86
Saxophone Tenor et Piano
83
Quatuor de Clarinettes: 4 clarinettes
82
2 Flûte à bec (duo)
79
Clarinette, Violon (duo)
66
Flûte, Clarinette (duo)
64
2 Hautbois (duo)
58
Saxophone Soprano et Piano
57
Clarinette, Trompette (duo)
56
Quintette de Saxophone: 5 saxophones
52
3 Saxophones (trio)
42
Ensemble de Clarinettes
42
Hautbois, Basson (duo)
41
Hautbois, Clarinette (duo)
41
Saxophone Baryton, Piano
40
Ensemble de Flûtes
39
Flûte irlandaise
36
Hautbois, Flûte
36
3 Clarinettes (trio)
36
Ensemble de saxophones
35
Clarinette et Alto
33
Cor anglais, Piano
32
Quatuor de Flûtes : 4 flûtes
32
Flûte, Violon
32
Flûte, Saxophone (duo)
28
Flûte, Alto (duo)
27
Flûte, Trompette (duo)
27
Hautbois
24
Flûte et Guitare
24
Flûte, Clarinette et Basson
20
Trio de Flûtes: 3 flûtes
19
Saxophone
16
Clarinette (partie séparée)
14
Clarinette, Basson (duo)
12
Clarinette Basse, Piano
12
Flute (partie séparée)
12
Flûte à bec Soprano
11
Quintette de Clarinettes: 5 clarinettes
11
Quintette de Flûte : 5 flûtes
10
Clarinette, Trombone (duo)
10
Quatuor de Flûtes à bec
10
Flûte à bec Alto
9
Flûte, Violoncelle
8
Flûte à bec Soprano, Piano
8
Flûte, Hautbois (duo)
7
Flûte, Hautbois, Clarinette (trio)
7
Flûte à Bec
7
Flûte, Hautbois, Basson
7
3 Flûtes à bec (trio)
6
Piccolo, Piano
6
Ocarina
6
Ensemble De Flûte à bec
6
Clarinette, Guitare (duo)
6
Flûte à bec Alto, Piano
5
Flûte, Violon, Piano
5
2 Flûtes traversières, Piano
5
Clarinette, Violoncelle (duo)
5
Flûte, Violon et Violoncelle
4
Flûte, Clarinette, Piano (trio)
4
Saxophone Soprano
4
Hautbois, Clarinette, Basson (trio d'anches)
4
2 Clarinettes, Piano
3
2 Saxophones, Piano
3
Hautbois, Guitare (duo)
3
Harmonica
3
Flûte, Trombone (duo)
2
Saxophone Baryton
2
4 Hautbois
2
Hautbois, Violoncelle
2
Flute, harpe et violon
2
Flûte, Clarinette, Cor, Basson (Quartet)
2
Instruments en Mib
2
Saxophone et Guitare
2
5 Flûtes à bec
2
Cor Anglais
1
Flûte, Basson et Piano
1
Hautbois, violon (duo)
1
Cor anglais, Guitare (duo)
1
Hautbois, Basson et Piano
1
Flûte, Hautbois, Piano (trio)
1
2 Flûtes à bec, Piano
1
Flûte traversière, Basse continue
1
2 Clarinettes, Basson
1
Clarinette, Orgue
1
2 Cors Anglais Et Pianoforte
1
Flûte, trombone et piano
1
Flûte et Trio à cordes
1
Flûte, Violoncelle, Piano (trio)
1
+ 99 instrumentations
Retracter
Cuivres
Trompette
220
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
182
Trompette, Piano
127
Trombone et Piano
123
Trombone
122
Quatuor de Cuivres : 2 trompettes, trombone, tuba
121
Cor
109
Trompette (partie séparée)
108
Trombone (partie séparée)
99
Cor et Piano
96
2 Trompettes (duo)
78
2 Trombones (duo)
77
Tuba
74
Trompette, Trombone (duo)
69
Trompette, Saxophone (duo)
60
Tuba et Piano
53
Euphonium
40
2 Cors (duo)
38
Euphonium, Piano (duo)
35
Quatuor de Cuivres: 2 trompettes, Cor, trombone
33
Cor anglais, Piano
32
Quatuor de Cuivres
28
Trompette, Cor (duo)
24
2 Tubas (duo)
17
Cor (partie séparée)
16
Ensemble de Trombones
14
Quatuor de cuivres: 4 trombones
13
Tuba (partie séparée)
12
2 Euphoniums (duo)
10
Quatuor de cuivres: 4 cors
9
3 Trombones (trio)
9
Ensemble de Trompettes
6
Trombone, Tuba (duo)
6
Ensemble de Cors
6
Euphonium, Tuba (duo)
5
3 Trompettes (trio)
5
4 Tubas
5
Quatuor de cuivres: 4 trompettes
5
Trio de Cuivres
5
Trombone basse et Piano
4
Cor, Tuba (duo)
4
Trompette, Violoncelle (duo)
4
Instruments en Sib
4
2 Euphoniums et 2 Tubas
3
Trombone basse
3
Bass Clef Instruments
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
3 Tubas (trio)
2
Tuba et Orgue
2
3 Cors (trio)
2
Trombone, Cor (duo)
2
Trompette, Tuba (duo)
2
Cor Anglais
1
Trompette, violon (duo)
1
Clarinette, Cor (duo)
1
Cor anglais, Guitare (duo)
1
Trompette, Violoncelle et Piano
1
Instruments en Fa
1
Trompette, Basson (duo)
1
Cor et Basson (duo)
1
2 Cors Anglais Et Pianoforte
1
2 Cors, Piano
1
+ 57 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
527
Violon et Piano
338
Violon
218
Violon, Violoncelle (duo)
184
Violoncelle
174
Violoncelle, Piano
143
Harpe
132
Alto, Piano
126
2 Violoncelles (duo)
123
2 Violons (duo)
116
Violon, Alto (duo)
98
Alto seul
92
Trio à Cordes: violon, alto, violoncelle
86
2 Altos (duo)
67
Trio à Cordes: 2 violons, violoncelle
62
Contrebasse, Piano (duo)
52
Quintette à cordes: 2 violons, alto, violoncelle, basse
39
Alto (partie séparée)
32
Contre Basse
30
Contrebasse (partie séparée)
28
Alto, Violoncelle (duo)
24
Violon (partie séparée)
19
Violoncelle, Contrebasse (duo)
15
2 Harpes (duo)
14
4 Violoncelles
14
Violon, Guitare (duo)
14
2 Contrebasses (duo)
13
Piano Trio: Violon, Alto, Piano
11
Quintette à cordes : 2 violons, alto et 2 violoncelles
8
Trio à cordes: 3 violins
8
Trio à Cordes: 3 violoncelles
8
Trio à cordes: 3 altos
7
Quatuor à cordes : 4 altos
7
Violoncelle , Guitare (duo)
6
Quatuor à cordes: 4 violons
6
Harpe, Voix
5
4 Contrebasses
4
Harpe, Flûte (duo)
4
Violon, Basson (duo)
3
Ensemble d'Altos
2
Alto et Harpe
2
Ensemble de Violons
2
Violon, Clarinette, Piano (trio)
2
2 Violons, Piano
2
Violoncelle (partie séparée)
2
Alto et Basson
2
Alto, Guitare (duo)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Harpe et mandoline
1
Violoncelle, Basse continue
1
Harpe, Violon (duo)
1
3 Contrebasses
1
Trio à Cordes: 2 violons, alto
1
Harpe, Trombone (duo)
1
Ensemble de Violoncelles
1
Flûte, Contrebasse (duo)
1
Violon, Orgue
1
+ 52 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 133
Orchestre à Cordes
232
Ensemble Jazz
203
Orchestre
201
Ensemble de cuivres
119
Fanfare
112
Cloches
75
Orchestre de chambre
70
Jazz combo
40
Batterie
28
Ensemble de Percussions
20
Batterie (partie séparée)
19
Vibraphone
11
Percussion (partie séparée)
7
2 Xylophones
6
Xylophone, Piano
5
Marimba
5
Piano et Orchestre
1
Marimba, Piano (duo)
1
+ 14 instrumentations
Retracter
Autres
Instruments
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BANJO
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CLAIRON
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
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CELTIQUE - IRISH - S…
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KLEZMER - JUIVE
LATIN - BOSSA - WORL…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
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METHODE : ETUDES
METHODE : TECHNIQUES
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OLD TIME - EARLY ROC…
OPERA
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POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
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2 Pianos, 4 mains
Partitions à imprimer
58 partitions trouvées
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51
When the Saints Go Marching In (Mixed Level, 2 Pianos, 4 Hands Duet)
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2 Pianos, 4 mains
#
FACILE
#
Gospel Spirituel
#
Musique Sacrée
#
Sharon Wilson
#
Sharon Wilson Music
#
When the Saints Go Marching In
#
Sharon Wilson
#
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
Scene from Gaelic Faram (Jig in Kiev) for 2 pianos (Piano 2 part)
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2 Pianos, 4 mains
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AVANCÉ
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Celtique/Irlandais
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John Pitts
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Maggie Chen).
#
Scene from Gaelic Faram
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Intensely Pleasant Music
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.890709 Composed by John Pitts. Celtic,Contemporary,Folk,World. Score. 16 pages. Intensely Pleasant Music...
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2 Pianos,4 Hands,Piano Duet - Level 5 - SKU: A0.890709 Composed by John Pitts. Celtic,Contemporary,Folk,World. Score. 16 pages. Intensely Pleasant Music #3424707. Published by Intensely Pleasant Music (A0.890709). Scene from Gaelic Faram (Jig in Kiev) is a 6-minute, note-filled, virtuosic piece inspired by British folksong, and includes adaptations of the Dargason jig and the reel Mary Mack, and starts with an attempt to capture some of the ornamented and decorated melody lines typical of Scottish bagpipes. The full 16-minute piece Gaelic Faram (Jig in Kiev) for 2 pianos and 2 percussionists was composed for the Kiev Piano Duo (Oleksandra Zaytseva and Dmytro Tavanets) for the Kiev Chamber Music Session Festival 2012. This new arrangement of a 6-minute scene from it, just for 2 pianos, was made in 2016 for the Australian Piano Duo (Vicky Yang & Maggie Chen).
$4.99
Concerto in C minor for Oboe and Violin (BWV 1060) - 2nd Movt - - 2 pianos
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2 Pianos, 4 mains
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Classique
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Johann Sebastian Bach
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Pietro Prugna
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Concerto in C minor for Oboe a
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Pietro Prugna
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.501267 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Wedding. S...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.501267 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Wedding. Score. 17 pages. Published by Pietro Prugna (A0.501267). This was originally for Oboe and Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Oboe Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin Solo while left hand plays Basso Continuo (Cello). The Oboe and Violin Solos (right hands) are played 1 octave higher (as indicated in the clefs). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99
Sonatina in G Major for 2 pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Claudio Porstmann
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Sonatina in G Major for 2 pian
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Claudio Porstmann
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1096457 By Claudio Porstmann. By Claudio Porstmann. Chamber,Classical,Instructional,Romantic Period,Trad...
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.1096457 By Claudio Porstmann. By Claudio Porstmann. Chamber,Classical,Instructional,Romantic Period,Traditional. Score. 9 pages. Claudio Porstmann #700437. Published by Claudio Porstmann (A0.1096457). A fun piece for 2 pianos, in the style of the Clementi sonatinas which are so enjoyable, and perfectly suited for students. Since most piano teachers have 2 pianos in their studio, this is a great piece to practice playing together, and learning the different aspects of ensemble music, like adjusting the tempo, dynamics and general expression so that both players together sound like one instrument.
$6.99
Concerto in C minor for Oboe and Violin (BWV 1060) - 3rd Movt - - 2 pianos
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2 Pianos, 4 mains
#
Classique
#
Johann Sebastian Bach
#
Pietro Prugna
#
Concerto in C minor for Oboe a
#
Pietro Prugna
#
SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.501361 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instructional. Score. 25 pa...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.501361 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instructional. Score. 25 pages. Published by Pietro Prugna (A0.501361). This was originally for Oboe and Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Oboe Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99
Concerto in C minor for Oboe and Violin (BWV 1060) - 1st Movt - - 2 pianos
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2 Pianos, 4 mains
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Classique
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Johann Sebastian Bach
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Pietro Prugna
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Concerto in C minor for Oboe a
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.500758 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Instructio...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.500758 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Instructional. Score. 31 pages. Published by Pietro Prugna (A0.500758). This was originally for Oboe and Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Oboe Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99
Double Violin Concerto in D minor (BWV 1043) - 1st Movt - - 2 pianos
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2 Pianos, 4 mains
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Classique
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Johann Sebastian Bach
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Pietro Prugna
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Double Violin Concerto in D mi
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.502000 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instructional. Score. 27 pa...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.502000 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Instructional. Score. 27 pages. Published by Pietro Prugna (A0.502000). This was originally for Double Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Violin I Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin II Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99
Double Violin Concerto in D minor (BWV 1043) - 2nd Movt - - 2 pianos
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2 Pianos, 4 mains
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Classique
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Johann Sebastian Bach
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Pietro Prugna
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Double Violin Concerto in D mi
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.497954 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Wedding. S...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.497954 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Christmas,Classical,Easter,Wedding. Score. 17 pages. Published by Pietro Prugna (A0.497954). This was originally for Double Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Violin I Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin II Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99
Double Violin Concerto in D minor (BWV 1043) - 3rd Movt - - 2 pianos
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2 Pianos, 4 mains
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Classique
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Johann Sebastian Bach
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Pietro Prugna
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Double Violin Concerto in D mi
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Pietro Prugna
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - SKU: A0.503131 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Contest,Festival,Instructio...
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2 Pianos,4 Hands,Piano Duet - SKU: A0.503131 Composed by Johann Sebastian Bach. Arranged by Pietro Prugna. Baroque,Classical,Contest,Festival,Instructional. Score. 31 pages. Published by Pietro Prugna (A0.503131). This was originally for Double Violin with String Orchestra. This is an arrangement for 2 Pianos. For Piano 1, right hand plays Violin I Solo while left hand plays Strings (violin and viola). For Piano 2, right hand plays Violin II Solo while left hand plays Basso Continuo (Cello). In a few bars, minor adjustments made to prevent overlapping. The pdf contains Full Score and Set of Parts (Piano 1, Piano 2).
$1.99
Summer In The City
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2 Pianos, 4 mains
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DÉBUTANT
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Bobby Ljunggren, Eva Lindblad,
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Warren & Debby
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Summer In The City
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World Music
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 1 - SKU: A0.829557 Composed by Bobby Ljunggren, Eva Lindblad, Haken Almqvist, Jakke Erixson, Justin Drew Tanter, Mik...
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2 Pianos,4 Hands,Piano Duet - Level 1 - SKU: A0.829557 Composed by Bobby Ljunggren, Eva Lindblad, Haken Almqvist, Jakke Erixson, Justin Drew Tanter, Mika Guillory, and Nadir Khayat. Arranged by Warren & Debby. Children,Contemporary,Pop. Score. 2 pages. World Music #436369. Published by World Music (A0.829557). Easy Piano for 2 pianos!! An easy piano arrangement where beginning students can play beautiful music by reading sheet music! In this arrangement, piano student 1 divides the melody into the two clefs with both hands and piano 2 student plays the chords in the treble clef and the bass in the bass clef accompanying piano 1.
$5.99
C. P. E. Bach Solfeggietto (Solfeggio) in C minor - 2 pianos
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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C
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Philip Kim
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C. P. E. Bach Solfeggietto
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SheetMusicPlus
Piano Solo, Piano Duet - Advanced Intermediate - Composed by C. P. E. Bach. Arranged by Philip Kim. Classical Period, Etudes and Exercises, Techniqu...
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Piano Solo, Piano Duet - Advanced Intermediate - Composed by C. P. E. Bach. Arranged by Philip Kim. Classical Period, Etudes and Exercises, Technique Training. 7 pages. Published by Philip Kim
This is my 2 piano arrangement of C.P.E. Bach's famous Solfeggietto (solfeggio) in C minor for the piano. I know there are other arrangements our there for 2 performers. Mine is just another addition.
The original piano part is based the the autograph manuscript with some edits. I hardly made any edits in dynamic markings or phrases. I will leave that up to the teacher and the performer. Enjoy.
https://youtu.be/y0d4G332uPM
$10.00
Minuet in G Major, BMV Anh. 114
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2 Pianos, 4 mains
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Classique
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Johann Sebastian Bach
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Justin M
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Minuet in G Major, BMV Anh. 11
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Justin M. Ryan
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SheetMusicPlus
Composed by Johann Sebastian Bach (1685-1750). Arranged by Justin M. Ryan. Baroque Period, Contemporary Classical, Method, Repertoire, General Instructional. 3 ...
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Composed by Johann Sebastian Bach (1685-1750). Arranged by Justin M. Ryan. Baroque Period, Contemporary Classical, Method, Repertoire, General Instructional. 3 pages. Published by Justin M. Ryan (S0.211367). - - Baroque Period,Contemporary Classical,Method,Repertoire,General Instructional - Justin M. Ryan
$3.99
Someone In The Crowd
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2 Pianos, 4 mains
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Film/TV
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Comédie Musicale
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Emma Stone, Callie Hernandez,
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Someone In The Crowd
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Hal Leonard - PNODT - Film/TV,Musical/Show - Hal Leonard - Digital Sheet Music
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SheetMusicPlus
From the movie 'La La Land'. By Emma Stone, Callie Hernandez, Sonoya Mizuno & Jessica Rothe, Justin Hurwitz, Justin Paul, Benj Pasek, Brent Edstrom. This...
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From the movie 'La La Land'. By Emma Stone, Callie Hernandez, Sonoya Mizuno & Jessica Rothe, Justin Hurwitz, Justin Paul, Benj Pasek, Brent Edstrom. This edition: Interactive Download. Film/TV, Musical/Show. PNODT. 7 pages. Published by Hal Leonard - PNODT - Film/TV,Musical/Show - Hal Leonard - Digital Sheet Music
$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
One Handed Trio #4
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2 Pianos, 4 mains
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INTERMÉDIAIRE
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Tom Rule
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One Handed Trio #4
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MaconMacMusicGuy
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.492547 By Tom Rule. By Tom Rule. Classical,Instructional,Jazz. Score. 6 pages. MaconMacMusicGuy #107812....
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2 Pianos,4 Hands,Piano Duet - Level 3 - SKU: A0.492547 By Tom Rule. By Tom Rule. Classical,Instructional,Jazz. Score. 6 pages. MaconMacMusicGuy #107812. Published by MaconMacMusicGuy (A0.492547). Composer’s note: Every piece in the “One Handed Trio†series can be played by 1, 2, or 3 players. They can be played on just piano, keyboards, or any combination - in fact, each piece will have a completely different feel and effect depending on what sounds are used. Feel free to experiment! Each part has OHT #4 has a lot of repetition. Figure out all the separate bits in “your†part, learn them, and THEN try to string them together. That will make it much more fun when you put the piece together. The sample mp3 has two versions, one after another. The first has only piano on all three parts - the repeat uses other keyboard sounds, just to give you a taste of what is possible. Go ahead - explore! Have some fun with this! ….and if you enjoy it, please rate, review, leave a note, and tell others about it. This composer will be grateful.
$1.99
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
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
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
Sonata for Two Pianos, I. Allegro con Spirito, K.448 (arr. Owen Meldon)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Owen Meldon
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Sonata for Two Pianos, I. Alle
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Owen Meldon
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SheetMusicPlus
Percussion Quartet Marimba - Level 5 - SKU: A0.1214857 Composed by Wolfgang Amadeus Mozart. Arranged by Owen Meldon. Classical. 37 pages. Owen Meldon #8...
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Percussion Quartet Marimba - Level 5 - SKU: A0.1214857 Composed by Wolfgang Amadeus Mozart. Arranged by Owen Meldon. Classical. 37 pages. Owen Meldon #811788. Published by Owen Meldon (A0.1214857). I was a freshman in high school and just figured out how to use MuseScore. With a holiday concert on the horizon, I wanted to put together a fun arrangement of a classical piece for four percussionists. I settled on Mozart’s Sonata for Two Pianos in D Major (fun fact: this piece has been studied extensively and has proven epilepsy-combatting power!*) and broke down the four piano hands into four marimba parts. In December 2016, I premiered the first iteration of this arrangement with the help of three of my peers; years later, I revisited this arrangement and gave it some much-needed revisions. I also finished arranging the second half of the original, which I couldn’t do in 2016 as the first arrangement had to be fairly short. This is the arrangement in its new finished version, which definitely looks and sounds a lot better than the first. We all start somewhere… *Lin, Lung-Chang, et al. “The Long-Term Effect of Listening to MOZART K.448 Decreases Epileptiform Discharges in Children with Epilepsy.†Instrumentation:Marimba I (4.3 octave marimba minimum)Marimba II (4.3 octave marimba minimum)Marimba III (5.0 octave marimba)Marimba IV (5.0 octave marimba)Duration: c. 6'
$29.99
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