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Joy to the world!
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602
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108
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71
1 Piano, 4 hands
70
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33
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19
2 Pianos, 4 hands
19
Piano Quartet: piano, violin, viola, cello
8
Piano Quintet: piano, 2 violins, viola, cello
8
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4
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Piano (band part)
2
Piano Quartet: piano, 2 violins, cello
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1 Piano, 6 hands
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2 Pianos, 8 hands
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Solo instrument and Organ
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Organ, Piano (duet)
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+ 19 instrumentations
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132
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73
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46
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39
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33
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28
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27
Choral
15
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14
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12
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9
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Medium voice, Piano
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High voice
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Choral SSATB
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Mezzo-Soprano voice, Piano
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Voix Masculines
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1
Voice, Guitar
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Low voice, Piano
1
Choral SSAATTBB
1
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374
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318
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228
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212
Clarinet
179
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169
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164
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161
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157
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155
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141
2 Clarinets (duet)
122
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119
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111
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95
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91
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91
Tenor Saxophone and Piano
85
Saxophone, Clarinet (duet)
82
Flute, Clarinet (duet)
74
Tenor Saxophone
70
Clarinet Quartet: 4 clarinets
69
Flute Quartet: 4 flutes
65
Clarinet, Violin (duet)
56
Saxophone ensemble
53
2 Oboes (duet)
52
Clarinet, Trumpet (duet)
52
English horn, Piano
45
Clarinet Ensemble
42
3 Saxophones (trio)
37
Oboe, Clarinet (duet)
37
Clarinet (band part)
35
Oboe, Bassoon (duet)
31
3 Clarinets (trio)
31
Oboe
31
Clarinet and Viola
30
Oboe, Flute
29
Flute, Violin
28
Flute Trio: 3 flutes
28
Flute, Saxophone (duet)
27
Flute (band part)
26
Descant (Soprano) Recorder
26
Flute, Trumpet (duet)
25
Baritone Saxophone, Piano
25
Clarinet Quintet: 5 clarinets
21
Flute, Viola (duet)
20
English Horn
20
Flute Quintet : 5 flutes
18
Clarinet, Cello (duet)
15
Flute, Violoncello
15
Flute, Oboe, Clarinet (trio)
15
Clarinet, Bassoon (duet)
15
Flute ensemble
13
2 Recorders (duet)
12
Flute, Cello, Piano (trio)
12
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11
Flute, Violin, Piano
11
Harmonica
11
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11
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9
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9
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9
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8
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8
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8
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7
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7
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7
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7
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6
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6
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6
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6
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6
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6
5 Recorders
6
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5
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5
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4
Oboe and viola (duet)
4
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4
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4
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3
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Oboe, Guitar (duet)
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2
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2
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2
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2
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1
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1
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206
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166
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162
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154
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143
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120
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117
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107
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100
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81
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78
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71
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61
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53
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52
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51
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45
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43
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42
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34
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32
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31
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22
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20
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18
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18
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17
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16
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16
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14
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14
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12
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12
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8
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8
3 Trombones (trio)
7
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6
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5
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4
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4
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4
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4 Tubas
3
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2
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2
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2
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2
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1
2 Euphoniums and 2 Tubas
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1
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1
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1
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1
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341
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309
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207
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77
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68
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64
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56
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50
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35
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29
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19
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18
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16
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15
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15
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14
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13
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13
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10
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8
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8
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8
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6
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6
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5
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4 Harps
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121
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94
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73
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Joy to the world!
2 Pianos, 4 hands
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1
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
#
2 Pianos, 4 hands
#
Classical
#
dislocation I mean a degree of
#
Jenni Roditi
#
CURVE, Between the Octaves - A
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497852 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 17 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download 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)
#
2 Pianos, 4 hands
#
INTERMEDIATE/ADVANCED
#
Contemporary
#
dislocation I mean a degree of
#
Jenni Roditi
#
RITUALISE, Between the Octaves
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497861 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 26 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download 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
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
#
2 Pianos, 4 hands
#
INTERMEDIATE/ADVANCED
#
Classical
#
dislocation I mean a degree of
#
Jenni Roditi
#
IGNITE, Between the Octaves -
#
Jenni Roditi
#
SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497866 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 24 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download 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 hands
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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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SURRENDER, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497843 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 12 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download 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
ENCIRCLE, Between the Octaves - A Piano Duo Suite (Movement 5 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/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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ENCIRCLE, Between the Octaves
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Level 4 - Digital Download SKU: A0.1497857 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 19 pages. Jenni Ro...
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Instrumental Duet,Keyboard - Level 4 - Digital Download 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
THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)
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2 Pianos, 4 hands
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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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THREAD, Between the Octaves A
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Jenni Roditi
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SheetMusicPlus
Instrumental Duet,Keyboard - Digital Download SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074...
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Instrumental Duet,Keyboard - Digital Download 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
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
Sonata Hymnica No. 6
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. Jam...
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2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00
Joy to the World by Joseph M. Martin - 2 Piano 4-Hands
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2 Pianos, 4 hands
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Joseph M. Martin
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Joy to the World
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Musicnotes
Performed by: Joseph Martin: Joy to the World Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file...
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Performed by: Joseph Martin: Joy to the World Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: 2 Piano 4-Hands;Instrumental Duet, instruments: 2 Pianos/4 Hands; 7 pages -- Classical~~Holiday & Special Occasion~~Christmas~~Christmas - Religious
$5.25
Joy to the World
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Christmas
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Classical
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George Frideric Handel
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Jenifer Lynn Cook
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Joy to the World
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Jenifer Lynn Cook
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SheetMusicPlus
By George Frideric Handel (1685-1759). Arranged by Jenifer Lynn Cook. For Piano Duet, Two Pianos. Sacred, Christian, Christmas. Advanced Intermediate. Sheet Mus...
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By George Frideric Handel (1685-1759). Arranged by Jenifer Lynn Cook. For Piano Duet, Two Pianos. Sacred, Christian, Christmas. Advanced Intermediate. Sheet Music Single. Published by Jenifer Lynn Cook
This exciting two piano Christmas arrangement begins with an exciting bell-like introduction...followed by dueling ascending thirds between the pianos...soaring into the joyful melody of this well-known Christmas carol! (4 pgs.).
$4.50
Christmas Carol Variations for 2 pianos, 4 hands, Book 2, A second collection of 10 by Simon Peberdy
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Christmas
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Various, traditional carol m
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Simon Peberdy
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Christmas Carol Variations for
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Simon Peberdy
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SheetMusicPlus
Composed by Various, traditional carol melodies. Arranged by Simon Peberdy. Christmas, Contemporary. Score. 68 pages. Simon Peberdy #3892889. Publishe...
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Composed by Various, traditional carol melodies. Arranged by Simon Peberdy. Christmas, Contemporary. Score. 68 pages. Simon Peberdy #3892889. Published by Simon Peberdy
Christmas Carol Variations for 2 pianos, 4 hands, Book 2 is a second collection of fun variations based on 10 well-known Christmas carols, for 2 pianos, 4 hands. These are all available individually, but buying all 10 together gives you nearly 70 pages of music to enjoy at a price that means you are basically getting 10 pieces for the price of 6.
(Also available as a printed book through www.simonpeberdymusic.com)
The mp3 is of "Wassail Hiccup and Trip up"
1. Lullay Lullay (https://youtu.be/yfXnmCyfXxI)
2. Little Town of Bethlehem Charleston;
3. The First Noel Gymnopedie (https://www.youtube.com/watch?v=GUlHWQ1zpsU)
4. Hark, the Herald Bluegrass Angels;
5. In the Bleak Midwinter;
6. Joy to the World - Funky! (https://www.youtube.com/watch?v=yAUaDHI7VBo or https://www.youtube.com/watch?v=XHTcGZ0ZLiM)
7. O Little Town of Bethlehem;
8. Wassail Hiccup and Trip up (https://www.youtube.com/watch?v=PABjdC_O7pg);
9. While Shepherds Boogie Woogie;
10. Quem Pastores.
The mp3 is of Wassail Hiccup and Trip up.
Please note: although both piano parts are printed, you do need 2 copies to play on 2 pianos!
(Book 1 is also available with another 10 pieces)
Arrangements for piano duet are also available.
$24.99
Joy to the World - funky!, fun carol variations for 2 pianos 4 hands
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2 Pianos, 4 hands
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Christmas
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Mason / traditional
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Simon Peberdy
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Joy to the World - funky!, fun
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Simon Peberdy
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SheetMusicPlus
Composed by Mason / traditional. Arranged by Simon Peberdy. 21st Century, Blues, Repertoire, Christmas. 7 pages. Published by Simon Peberdy (S0.162975). - - 21...
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Composed by Mason / traditional. Arranged by Simon Peberdy. 21st Century, Blues, Repertoire, Christmas. 7 pages. Published by Simon Peberdy (S0.162975). - - 21st Century,Blues,Repertoire,Christmas - Simon Peberdy
$3.99
Joy to the World
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2 Pianos, 4 hands
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Classical
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Sacred music
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G
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Jon Ensminger
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Joy to the World
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Jonathan Ensminger
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SheetMusicPlus
Composed by G. F. Handel. Arranged by Jon Ensminger. Baroque Period, Christian, Sacred, Christmas. Score. 7 pages. Published by Jonathan Ensminger (S0.148369). ...
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Composed by G. F. Handel. Arranged by Jon Ensminger. Baroque Period, Christian, Sacred, Christmas. Score. 7 pages. Published by Jonathan Ensminger (S0.148369). - Score - Baroque Period,Christian,Sacred,Christmas - Jonathan Ensminger
$5.99
Joy to the World - Duet
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2 Pianos, 4 hands
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Classical
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George Frideric Handel
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Andrea Neustaeter
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Joy to the World - Duet
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Andrea Neustaeter
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SheetMusicPlus
Composed by George Frideric Handel (1685-1759). Arranged by Andrea Neustaeter. Spiritual, Sacred, Etudes and Exercises, Technique Training, Christmas. Score, Se...
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Composed by George Frideric Handel (1685-1759). Arranged by Andrea Neustaeter. Spiritual, Sacred, Etudes and Exercises, Technique Training, Christmas. Score, Set of Parts. 4 pages. Published by Andrea Neustaeter (S0.253805). - Score,Set of Parts - Spiritual,Sacred,Etudes and Exercises,Technique Training,Christmas - Andrea Neustaeter
$2.99
Fugue on "Joy to the World"
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2 Pianos, 4 hands
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Christmas
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Kyle Shaw
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Fugue on "Joy to the World"
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Kyle Shaw
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SheetMusicPlus
Composed by Kyle Shaw. For Piano Duet. 21st Century,Baroque Period,Christian,Sacred,Christmas. Published by Kyle Shaw ...
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Composed by Kyle Shaw. For Piano Duet. 21st Century,Baroque Period,Christian,Sacred,Christmas. Published by Kyle Shaw
$1.99
Vltava (Moldau)
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2 Pianos, 4 hands
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ADVANCED
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Richard Simm
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Richard Simm
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Vltava
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Richard Simm
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1464123 By Richard Simm. By Bedrich Smetana. Arranged by Richard Simm. 19th Century,Clas...
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2 Pianos,4 Hands,Piano Duet - Level 5 - Digital Download SKU: A0.1464123 By Richard Simm. By Bedrich Smetana. Arranged by Richard Simm. 19th Century,Classical,Folk,Multicultural,Romantic Period,World. Score. 9 pages. Richard Simm #1042836. Published by Richard Simm (A0.1464123). Smetana struggled hard for recognition in his life as a composer, but in his later years his major contribution to a Czech national style in music was acknowledged. Vltava is a marvellous orchestral depiction of the river that flows through Prague, reflecting the aspect of realism which was part of his romantic inspiration.This 2-piano arrangement by Richard Simm is pianistically advanced in order to retain as much as possible of the original's rich orchestral texture, but the focus is on the beautiful main theme of the work, concluding with Smetana's rather Wagnerian coda. Polished pianists will enjoy taking part in the powerful, surging flow of this descriptive work.
$8.95
Duet Dance
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2 Pianos, 4 hands
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INTERMEDIATE
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Contemporary
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Luis Chris Medina
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Duet Dance
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Luis Chris Medina
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.912876 Composed by Luis Chris Medina. 20th Century,World. Score and parts....
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Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.912876 Composed by Luis Chris Medina. 20th Century,World. Score and parts. 5 pages. Luis Chris Medina #2153581. Published by Luis Chris Medina (A0.912876). Duet Dance is a light piano duet written for one piano four hands in French style inspired by the music of Poulenc.This short piece has a lyrical melody supported by waltz like accompaniment figure that are varied throughout. The pianists along with the audience will both enjoy playing and listening to this work.
$1.99
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