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Sibelius 7 Software
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28 partitions trouvées
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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
SURRENDER, Between the Octaves, A Piano Duo Suite (Movement 2 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074255. Published by Jenni Roditi (A0.1497843). Piano Duo - 2 pianos, 4 hands. Surrender, Between the Octaves was the piece that was composed first in the suite. It exposes a simple call to return to the beginning, to return to a pure act of listening. This note..ah, now that note.. oh. This is how the piece was written - one note at a time. Listening from within a space (its original title) of resonance, of edges and meetings, of disappearances and repetitions that reflect on this gentle body of notes. There is a slow hearing that may, or may not create a tone-journey.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Roditi #1074269. Published by Jenni Roditi (A0.1497857). Piano Duo 2 pianos/4 hands. Encircle, Between the Octaves, originally called rotate as its impetus was to generate a steadily rotating music. Encircle was later chosen as a more evocative word. The harmony surprised me as it suggested shifts and colourations that I would not have expected to conjure. Two upper rotating parts with melodic narrative are supported by bass and baritone lower parts. The final section adds a dance-like short form to end what could otherwise have run and run and run. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 mains
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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CURVE, Between the Octaves - A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published b...
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Instrumental Duet,Keyboard - SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074264. Published by Jenni Roditi (A0.1497852). Piano Duo 2 pianos/4 hands. Curve, Between the Octaves points to a fugal past, where lines enter and build in stately flow. It invites lines to intermingle, without assuming they will all arrive somewhere, or at the same time. A certain intensity builds, then scales, both up and down, free themselves from the discussion of the interleaving lines. The chromaticism suggests curving between harmonies, and is nearly always ambivalent. An assertive chordal climax intervenes to shake off the tensions, yet this peels away into further curvatures that twist and twirl, until a final resting point agrees to present itself. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
RITUALISE, Between the Octaves - A Piano Duo Suite (Movement 6 of 7)
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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dislocation I mean a degree of
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Jenni Roditi
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RITUALISE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. P...
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Instrumental Duet,Keyboard - Level 4 - SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Roditi #1074273. Published by Jenni Roditi (A0.1497861). Piano Duo 2 pianos/4 hands. Ritualise, Between the Octaves finally found its identity with the word ritualise. It began as announce, became pronounce, then declare and went as far a pontificate for a title. At that point I realised I was mocking my own music and needed to take it more seriously. Ritualise brought out a meaning to the music that I hadn’t wanted to admit to. It is quite folk-like, in a primal and entrancing kind of way. I can imagine a communal dance for some ceremonial purpose in this music with both public and private elements.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 mains
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AVANCÉ
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Classique
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dislocation I mean a degree of
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Jenni Roditi
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INITIATE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. P...
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Instrumental Duet,Keyboard - Level 5 - SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Roditi #1074235. Published by Jenni Roditi (A0.1497831). For Piano Duo - 2 pianos/4hands. Initiate, Between the Octaves, the opening piece in the suite, is a sparky, rhythmic and post-modern hoquet, of some wit and almost perpetual bounciness. A ricocheting of quickly contrasting dynamics with occasional switches to distant moments. Three big plunges into legato emotional flow, release the popping bubbles of the fiery staccato material. A short final chorale settles and grounds the quick cuts, swoops and build ups that have propelled the whole piece. Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.
$20.00
Rhum Ba-Ba
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Sibelius 7 Software
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Rhum Ba-Ba
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Andrew Howes
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SheetMusicPlus
Guitar - Level 2 - SKU: A0.1518055 By Sibelius 7 Software. By Andy Howes. 20th Century,Latin,Traditional. Tablature. 3 pages. Andrew Howes #1092207. Pub...
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Guitar - Level 2 - SKU: A0.1518055 By Sibelius 7 Software. By Andy Howes. 20th Century,Latin,Traditional. Tablature. 3 pages. Andrew Howes #1092207. Published by Andrew Howes (A0.1518055). A straightforward Rumba: great fun!
$6.00
Rhum Ba-Ba
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Sibelius 7 Software
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Rhum Ba-Ba
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 2 - SKU: A0.1518065 By Sibelius 7 Software. By Andy Howes. 20th Century,Latin,Traditional. Individual part. 2 pages. Andrew Howes #1...
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Solo Guitar - Level 2 - SKU: A0.1518065 By Sibelius 7 Software. By Andy Howes. 20th Century,Latin,Traditional. Individual part. 2 pages. Andrew Howes #1092228. Published by Andrew Howes (A0.1518065). A straightforward Rumba: great fun!Also available with tab.
$6.00
Spooky Jools
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Sibelius 7 Software
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Spooky Jools
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Andrew Howes
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1504641 By Sibelius 7 Software. By Andy Howes. 20th Century,Contemporary,Jazz,Standards. Score. 3 pages. Andrew Howes #10...
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Piano Solo - Level 4 - SKU: A0.1504641 By Sibelius 7 Software. By Andy Howes. 20th Century,Contemporary,Jazz,Standards. Score. 3 pages. Andrew Howes #1080066. Published by Andrew Howes (A0.1504641). A straightforward standard swing piece for piano in E minor, good fun and a great basis for impro. Enjoy!
$6.00
Prelude
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Guitare
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AVANCÉ
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Classique
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Sibelius 7 Software
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Prelude
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 5 - SKU: A0.1496734 By Sibelius 7 Software. By Andrew Howes. 20th Century,21st Century,Classical,Romantic Period. Individual part. 1...
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Solo Guitar - Level 5 - SKU: A0.1496734 By Sibelius 7 Software. By Andrew Howes. 20th Century,21st Century,Classical,Romantic Period. Individual part. 1 pages. Andrew Howes #1073250. Published by Andrew Howes (A0.1496734). The Prelude from my Eyeworth Suite as a stand-alone piece for classical guitar (advanced). It is a reflective, idyllic piece and was written to reflect the view of a lake in The New Forest, Hampshire. It has some interesting harmonies!
$6.00
Recuerdos de la Alhambra - duet version with added second part
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2 Guitares (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Sibelius 7 Software
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Andrew Howes
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Recuerdos de la Alhambra - due
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Andrew Howes
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SheetMusicPlus
Guitar,Instrumental Duet - Level 4 - SKU: A0.1458562 By Sibelius 7 Software. By Andrew Howes. Arranged by Andrew Howes. 19th Century,Chamber,Classical,R...
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Guitar,Instrumental Duet - Level 4 - SKU: A0.1458562 By Sibelius 7 Software. By Andrew Howes. Arranged by Andrew Howes. 19th Century,Chamber,Classical,Romantic Period. 14 pages. Andrew Howes #1037492. Published by Andrew Howes (A0.1458562). A duet version of the famous Tárrega classic, with a specially composed second guitar part which adds a rich rexture to the original.Primarily for advanced guitarists, the second part can be played by anyone whose tremolo is good.Score and separate parts included.
$6.00
Viniendo de la Fuente & ***, Cuentas de la Juventud, Op 1,movts. 5 & 6
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Sibelius 7 Software
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Andrew Howes
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Viniendo de la Fuente & **
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1461265 By Sibelius 7 Software. By Enrique Granados. Arranged by Andrew Howes. 19th Century,20th Century,Chamber,Romanti...
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Solo Guitar - Level 4 - SKU: A0.1461265 By Sibelius 7 Software. By Enrique Granados. Arranged by Andrew Howes. 19th Century,20th Century,Chamber,Romantic Period. Individual part. 4 pages. Andrew Howes #1040066. Published by Andrew Howes (A0.1461265). An arrangement of two movements from Granados' very first published work, a set of tunes entitled 'Cuentas de la Juventud'.Here I have set tunes five and six consecutively as six on its own is very short and acts as a brief interlude between five and seven. Here it makes a nice coda to 'Viniendo de la Fuente' and leaves us to guess the meaning of its mysterious title: * * *I have transposed it to fitting keys for the guitar and both pieces flow quite nicely. They are relaxed and expressive and would make a nice contrast between lively pieces in a performance.
$5.00
Hommage Á Erik Satie
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Piano seul
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INTERMÉDIAIRE
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Classique
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Sibelius 7 Software
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Andrew Howes
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Hommage Á Erik Satie
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Andrew Howes
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1419228 By Sibelius 7 Software. By Andrew Howes. Arranged by Andrew Howes. 19th Century,Classical,Romantic Period. Score....
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Piano Solo - Level 3 - SKU: A0.1419228 By Sibelius 7 Software. By Andrew Howes. Arranged by Andrew Howes. 19th Century,Classical,Romantic Period. Score. 4 pages. Andrew Howes #1000663. Published by Andrew Howes (A0.1419228). An Hommage to Erik Satie in the style of a Gymnopedie, originally written for the classical guitar and given here for piano.It is, like all Satie's Gymnopedies and Gnossiennes, a simple, straight-forward work for pianists of reasonable ability and has a calm, relaxed air to it whilst projecting heartfelt emotion. I hope you enjoy it!
$4.00
The Twin
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Guitare
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INTERMÉDIAIRE
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Celtique/Irlandais
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Sibelius 7 Software
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The Twin
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1359877 By Sibelius 7 Software. By Andy Howes. 20th Century,Celtic,Folk,Irish. Individual part. 1 pages. Andrew Howes #9...
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Solo Guitar - Level 3 - SKU: A0.1359877 By Sibelius 7 Software. By Andy Howes. 20th Century,Celtic,Folk,Irish. Individual part. 1 pages. Andrew Howes #944362. Published by Andrew Howes (A0.1359877). An arrangement of an air I wrote for my friends, the twins Gillian and Lesley Ashby in 1988. Originally written for flute, clarinet and 'cello it is given here as a solo for intermediate classical guitarists. It is also available as a classical guitar duet. It is in the style of a berceuse.
$4.00
Josephine Butterfield
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Violon et Piano
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FACILE
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Celtique/Irlandais
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Sibelius 7 Software
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Josephine Butterfield
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Andrew Howes
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SheetMusicPlus
Piano,Violin - Level 2 - SKU: A0.1359212 By Sibelius 7 Software. By Andy Howes. 20th Century,Celtic,Folk,Irish. 2 pages. Andrew Howes #943670. Published...
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Piano,Violin - Level 2 - SKU: A0.1359212 By Sibelius 7 Software. By Andy Howes. 20th Century,Celtic,Folk,Irish. 2 pages. Andrew Howes #943670. Published by Andrew Howes (A0.1359212). Originally written in '87 on the birth of Josephine to my great friends David and Meriel Butterfield, my well-loved, folk-tune lullaby is now given here with piano accompaniment. You may find two other settings of it on Youtube, firstly the original featuring me and the band Innominata ( when the piece was simply called 'Josephine') and a second version by the No1 Ladies Accordion Orchestra.
$3.00
Charley's Waltz
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Sibelius 7 Software
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Charley's Waltz
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1315833 By Sibelius 7 Software. By Andrew Howes. 19th Century,20th Century,Chamber,Classical,Romantic Period. Individual...
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Solo Guitar - Level 4 - SKU: A0.1315833 By Sibelius 7 Software. By Andrew Howes. 19th Century,20th Century,Chamber,Classical,Romantic Period. Individual part. 3 pages. Andrew Howes #904608. Published by Andrew Howes (A0.1315833). A waltz I wrote for my first grand-daughter Charley on her 13th birthday. Originally for piano, I present it here for classical guitarists. It is very much in the style of Chopin and makes an excellent salon piece.
$4.00
Angelus Ad Virginem
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Sibelius 7 Software
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Andrew Howes
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Angelus Ad Virginem
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.1347997 By Sibelius 7 Software. By Irish 14thC. Arranged by Andrew Howes. Celtic,Christmas,Classical,Early Music,Folk,Ir...
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Solo Guitar - Level 4 - SKU: A0.1347997 By Sibelius 7 Software. By Irish 14thC. Arranged by Andrew Howes. Celtic,Christmas,Classical,Early Music,Folk,Irish. Individual part. 1 pages. Andrew Howes #932811. Published by Andrew Howes (A0.1347997). An arrangement for classical guitar of this lively and joyous 14thC. Irish carol for intermediate to advanced classical guitarists.
$4.00
Charley's Waltz (including tab.)
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Guitare
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INTERMÉDIAIRE
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Sibelius 7 Software
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Charley's Waltz
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Andrew Howes
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SheetMusicPlus
Solo Guitar - Level 3 - SKU: A0.1350428 By Sibelius 7 Software. By Andrew Howes. 19th Century,Chamber,Classical. Individual part. 5 pages. Andrew Howes ...
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Solo Guitar - Level 3 - SKU: A0.1350428 By Sibelius 7 Software. By Andrew Howes. 19th Century,Chamber,Classical. Individual part. 5 pages. Andrew Howes #935227. Published by Andrew Howes (A0.1350428). A Chopin-style waltz I wrote for my granddaughter Charley's thirteenth birthday and have recently transcribed for the classical guitar.
$4.00
Rhum Ba-Ba
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Piano Facile
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FACILE
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Sibelius 7 Software
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Rhum Ba-Ba
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Andrew Howes
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SheetMusicPlus
Easy Piano - Level 2 - SKU: A0.1324692 By Sibelius 7 Software. By Andrew Howes. 20th Century,Latin. Score. 1 pages. Andrew Howes #912899. Published by A...
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Easy Piano - Level 2 - SKU: A0.1324692 By Sibelius 7 Software. By Andrew Howes. 20th Century,Latin. Score. 1 pages. Andrew Howes #912899. Published by Andrew Howes (A0.1324692). A very simple Rhumba for those of UK Grade 3-5 level: Great fun !
$4.00
Angelic Music, Op. 40
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Orgue
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Vidas Pinkevicius
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Angelic Music, Op. 40
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Vidas Pinkevicius
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SheetMusicPlus
Organ - SKU: A0.909272 Composed by Vidas Pinkevicius. 20th Century,Contemporary,Sacred. Score. 7 pages. Vidas Pinkevicius #3540613. Published by Vidas P...
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Organ - SKU: A0.909272 Composed by Vidas Pinkevicius. 20th Century,Contemporary,Sacred. Score. 7 pages. Vidas Pinkevicius #3540613. Published by Vidas Pinkevicius (A0.909272). I improvised this gentle piece first for the Communion of the memorial service of Lithuanian journalist Rokas Zilinskas on June 10, 2017 at Vilnius University St John's church .hen I came back home and started to transcribe it to the Sibelius notation software from this video. Although the tempo is rather slow, the process was painstakingly difficult. So I decided to improvise it fresh, this time straight to the Sibelius.What came out was a shorter version (ca. 5 minutes of duration) gentle piece suitable for Communion or recital. I dedicate it to Dr. Pamela Ruiter-Feenstra, organist, improviser, composer, pedagogue, mentor, friend.The soft strings remind me of Angels flapping their wings. The dialogue between two flutes is like two Seraphims talking to each other in thought. The dark 16' and 8' chord combination give a glimpse of mysteries invisible above the clouds in the dusk.7 pages. PDF score. Intermediate level.Let me know if you'll enjoy playing it!
$6.99
Rondo Alla Turka (arranged for 8 string guitar)
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Guitare notes et tablatures
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Tim Rushworth
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Rondo Alla Turka
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Tim Rushworth
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SheetMusicPlus
Guitar - Level 5 - SKU: A0.1388215 Composed by Wolfgang Amadeus Mozart. Arranged by Tim Rushworth. Classical. Guitar Tab. 7 pages. Tim Rushworth #971813...
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Guitar - Level 5 - SKU: A0.1388215 Composed by Wolfgang Amadeus Mozart. Arranged by Tim Rushworth. Classical. Guitar Tab. 7 pages. Tim Rushworth #971813. Published by Tim Rushworth (A0.1388215). This is a full version (7 pages) of Mozart's well known Rondo or Turkish March arranged here for 8 string guitar. The lower 2 strings being tuned to C and A enables many of Mozart's bass notes to remain at the original pitch.There is an mp3 audio file from the software program Sibelius which I used for writing it, but this sounds very mechanical and is only there to give an idea of the finished product.This is not an easy tune to play on 8 string, but should be very enjoyable. There are lots of opportunities to use the bass strings here. Plus this is great music by a great composer!Youtube performance to follow. See also my alternative version for 6 strings.
$7.99
Serenade No. 11
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Stephen Levintow
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Serenade No. 11
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Cypress Publishing
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SheetMusicPlus
String Quintet Cello,Viola,Violin - Level 4 - SKU: A0.1447120 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen Levintow. Classical. 69 pages. Cy...
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String Quintet Cello,Viola,Violin - Level 4 - SKU: A0.1447120 Composed by Wolfgang Amadeus Mozart. Arranged by Stephen Levintow. Classical. 69 pages. Cypress Publishing #1026899. Published by Cypress Publishing (A0.1447120). Soon after moving to Vienna in 1781, Mozart wrote what turned out to be his last, and finest, three serenades for wind ensemble. He himself arranged the one in c minor, Köchel 388, for string quintet (2 violins, 2 violas and cello), and that version is known as K. 406. Most of the serenade in B-Flat Major, K 361, sometimes called Gran Partita or Serenade for 13 Instruments, was also arranged for the same quintet combination, apparently by someone else, with the movements divided up between Quintets No. 6 and 7 in the second volume of the standard Peters Edition set of parts for Mozart’s string quintets. The remaining serenade, K. 375, is appearing in a string quintet arrangement for the first time that I know of. While it does not have the dramatic intensity of K. 388/406 or the grand sweep of K. 361, it is a worthy companion to the other two works. He composed it “carefully”, as he explained in a letter to his father, and the piece is full of striking details that show this. In the first movement, the second subject is surprisingly in a dark minor key, and the development is based on it. But it does not appear in the recapitulation, replaced instead by a new major key theme. The first of the two minuets also has a brooding trio in minor. The heart of the work is the Adagio, one of Mozart’s great slow movements, and it should be better known. The long-spun overlapping melodies work particularly well for strings. The finale starts as a conventional Rondo, but breaks off into an extended fugal section (again starting in a minor key!) that gives the movement weight and power beyond a typical formula rondo. This arrangement transposes the original E-Flat Major to D Major, to take advantage of string sonority while making some of the passage work lie better for the instruments. Score and parts follow the current convention of listing the composer’s middle name as Amadeus, even though he did not favor it: His only recorded use was a letter he signed Wolfgangus Amadeus Mozartus, clearly intended as a joke. He preferred the Italian or French versions, Amadeo or Amadé, of his German given name Gottlieb (which he also rarely if ever used). CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites.The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$15.00
Albéniz Tango
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Isaac Albéniz
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Stephen Levintow
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Albéniz Tango
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Cypress Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1435014 Composed by Isaac Albéniz (1860-1909). Arranged by Stephen Levintow. 19th ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1435014 Composed by Isaac Albéniz (1860-1909). Arranged by Stephen Levintow. 19th Century,Romantic Period,Wedding. 7 pages. Cypress Publishing #987531. Published by Cypress Publishing (A0.1435014). This delightful number by Albéniz, originally a piano piece from his Opus 165 set España, is a superb example of the composer's gift for Spanish national melody. With its beautiful harmonic shifts, it is always a crowd favorite. CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$6.00
Bluebird Pas de Deux
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Pyotr Ilyitch Tchaikovsky
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Stephen Levintow
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Bluebird Pas de Deux
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Cypress Publishing
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1333696 Composed by Pyotr Ilyitch Tchaikovsky (1840-1893). Arranged by Stephen Levintow. 19th Century,...
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String Quartet String Quartet - Level 4 - SKU: A0.1333696 Composed by Pyotr Ilyitch Tchaikovsky (1840-1893). Arranged by Stephen Levintow. 19th Century,Romantic Period. 7 pages. Cypress Publishing #919992. Published by Cypress Publishing (A0.1333696). This lovely excerpt from Act III of the ballet Sleeping Beauty is an example of Tchaikovsky's extraordinary melodic genius. Igor Stravinsky was so taken with this number that he arranged it for chamber orchestra, and it also works beautifully for string quartet.CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.
$3.00
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