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2 Pianos, 4 hands
Sheetmusic to print
3 sheet music found
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1
Waltz from Sleeping Beauty, for 2 pianos
Waltz from Sleeping Beauty, for 2 pianos
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2 Pianos, 4 hands
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ADVANCED
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Classical
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Pyotr Tchaikovsky
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Richard Simm
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Waltz from Sleeping Beauty, fo
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1074261 Composed by Pyotr Tchaikovsky. Arranged by Richard Simm. Classical,Romantic Peri...
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2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1074261 Composed by Pyotr Tchaikovsky. Arranged by Richard Simm. Classical,Romantic Period. Score. 14 pages. Richard Simm #678551. Published by Richard Simm (A0.1074261). In this well-loved waltz by Tchaikovsky, the composer once again brings life, magic and colour to a famous fairy tale. It is a grand, bright and optimistic item, coming near the beginning of the ballet and before the dramatic conflict with the forces of evil at the heart of the story. As usual, Richard Simm's arrangement for 2 pianos is intended for concert performance by advanced pianists, but the delightful results will certainly repay the practice involved.
$8.95
La Guachinanga - Rumba (MexicanDance) arranged for two-piano duo
La Guachinanga - Rumba (MexicanDance) - two-piano duo
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2 Pianos, 4 hands
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ADVANCED
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Chester Wittell
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Cedric Elmer, ASCAP
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La Guachinanga - Rumba
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Cedric N Elmer
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.968725 Composed by Chester Wittell. Arranged by Cedric Elmer, ASCAP. 20th Century,Jazz,S...
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2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.968725 Composed by Chester Wittell. Arranged by Cedric Elmer, ASCAP. 20th Century,Jazz,Standards. Score. 9 pages. Cedric N Elmer #4849181. Published by Cedric N Elmer (A0.968725). A two-piano duo for advanced pianists performed in a Tempo do Rumba style. Note the DC al coda at measure 86 that repeats from the beginning to measure 35 and to Coda. Note the fermata that gives the performers time to prepare for fast and fortissimo ending.
$7.99
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
INITIATE, Between the Octaves - A Piano Duo Suite (Movement 1 of 7)
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2 Pianos, 4 hands
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ADVANCED
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Classical
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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 - Digital Download SKU: A0.1497831 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 5 - Digital Download 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
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