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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
I Sing the Mighty Power of God (2 octave, reproducible)
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Handbells
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EASY
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Sacred music
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Ellacombe
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Kristine Johanek
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I Sing the Mighty Power of God
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Kristine Johanek
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SheetMusicPlus
Handbell - Level 2 - Digital Download SKU: A0.707984 Composed by Ellacombe (anonymous German tune). Arranged by Kristine Johanek. Sacred. Score. 3 pages....
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Handbell - Level 2 - Digital Download SKU: A0.707984 Composed by Ellacombe (anonymous German tune). Arranged by Kristine Johanek. Sacred. Score. 3 pages. Kristine Johanek #4593171. Published by Kristine Johanek (A0.707984). This powerful German tune is treated to an exciting arrangement for two octaves of handbells, tone chimes or hand chimes. using only 15 bells, it is playable by a small intermediate or early intermediate group. Between two and two and a half minutes long, it is suitable for general worship services, and especially appropriate as introit music. This is a reproducible product. This piece may be purchased as a score for one performing group, and copies made for the members of that one performing group. Save money and space while allowing for more flexibility in annotating from year to year.
$3.99
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
IGNITE, Between the Octaves - A Piano Duo Suite (Movement 7 of 7)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
#
dislocation I mean a degree of
#
Jenni Roditi
#
IGNITE, Between the Octaves -
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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
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
#
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
#
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
CURVE, Between the Octaves - A Piano Duo Suite (Movement 4 of 7)
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2 Pianos, 4 hands
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Classical
#
dislocation I mean a degree of
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Jenni Roditi
#
CURVE, Between the Octaves - A
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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)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
#
Contemporary
#
dislocation I mean a degree of
#
Jenni Roditi
#
RITUALISE, Between the Octaves
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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
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
Promised Land
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Handbells
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BEGINNER
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Sacred music
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American folk melody from Sout
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Cheryl (Sutton) Baker - Bronze
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Promised Land
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Bronze:FX
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SheetMusicPlus
Handbell - Level 1 - Digital Download SKU: A0.1308213 Composed by American folk melody from Southern Harmony 1835. Arranged by Cheryl (Sutton) Baker - Br...
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Handbell - Level 1 - Digital Download SKU: A0.1308213 Composed by American folk melody from Southern Harmony 1835. Arranged by Cheryl (Sutton) Baker - Bronze:FX. 19th Century,Christian,Praise & Worship,Religious. Score. 4 pages. Bronze:FX #897453. Published by Bronze:FX (A0.1308213). The arrangement is for 5, 6, 7, or 8 ringers using two octaves of handbells or handchimes. Assignments are included according to the quantity of ringers, and the piece is Level 2 when played with seven or eight ringers. This piece may also be performed by four- or six- in-hand ensembles without tables.Combining flowing lines with block chords, this arrangement of the familiar hymn tune is reminiscent of a music box. The melody is played both in the bass and the treble lines, and the easy rhythms never advance beyond the eighth note value. Every ringer is kept busy with lots of ringing, LV, some shakes, and minimal accidentals. There are a two gathering points where the ringers regain those who are lost or no longer together with the group's rhythm.On Jordan's stormy banks I stand, and cast a wishful eyeTo Canaan's fair and happy land, where my possession lie.I am bound for the promised land. I am bound for the promised land.Oh, who will come and go with me? I am bound for the promised land.– lyrics by Samuel Stennet, 1787The piece has a lovely reoccurring pattern that bridges the verses. There are two verses in all, and each one has a fermata (hold) on the question Oh, who will come and go with me?Performance time:• 2 minutes, 30 seconds.
$2.50
Andean Refrains Set I
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Dan Heslink
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Andean Refrains Set I
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Pharaoh Publications
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SheetMusicPlus
Small Ensemble Marimba,Xylophone - Level 4 - Digital Download SKU: A0.935374 Composed by Dan Heslink. Contemporary,World. Score and parts. 41 pages. Phar...
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Small Ensemble Marimba,Xylophone - Level 4 - Digital Download SKU: A0.935374 Composed by Dan Heslink. Contemporary,World. Score and parts. 41 pages. Pharaoh Publications #4855253. Published by Pharaoh Publications (A0.935374). Andean Refrains, composed by Dan Heslink The composing of Andean Refrains resulted from the composer’s travels in the Andes Mountains of Venezuela, where he came to know and enjoy the melodies of the indigenous Andean band. Although the marimba is not an instrument of that region, it seems to be well-suited to the music’s technical and expressive demands. Requiring four marimbas and one xylophone, Andean Refrains is an original composition employing tradition Andean musical styles. Some of the five parts require four mallets, the others require two. It is best to perform the bass part on a marimba that can play two octaves below middle C, but if no instrument with that range is available octave transpositions of some notes is acceptable. In this work the marimbas imitate the wide vibrato of zampoñas, or panpipes, with rapidly alternating octaves. The notched-end wooden flute, quena, is suggested with hard mallets on the xylophone, and of course the guitars and charango (Andean ukulele) transcribe well to marimba with four mallets. The bass end of the marimba provides the register of the guitarrone. Chaccha, the rattle of llama toenails, is simulated by instructing one marimbaist to at times strike the bar with the handles of the mallet. With this work the composer hopes to capture the quiet dignity and inevitability of life’s events expressed by Andean musicians.
$9.99
Hosanna, Loud Hosanna - Choir 1 Score (Handbell or Handchime Choir)
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Handbells
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EASY
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George Christ
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George Christ
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Hosanna, Loud Hosanna - Choir
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 2 - Digital Download SKU: C7.CGB1049 I Sing the Mighty Power of God. Composed by George Christ. Arranged by G...
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3, 4, or 5 octaves handbells - Level 2 - Digital Download SKU: C7.CGB1049 I Sing the Mighty Power of God. Composed by George Christ. Arranged by George Christ. Palm Sunday, General. With Piano or Harp substitues for Choir 2, Handchimes 3-5 choirs. Score. 8 pages. Chorister's Guild - Digital #CGB1049. Published by Chorister's Guild - Digital (C7.CGB1049). UPC: 749193027349.Originally written for handbells and harp, this arrangement of the tune Ellacombe can be played by two handbell or handchime choirs, or one handbell or handchime choir with harp or piano. This piece is a duet between the two parts, with each part carrying the melody at different times. This would be a wonderful opportunity to get together with another handbell choir, or to have two choirs at one church play together, one choir playing bells and one choir playing chimes.
$4.95
One Foundation
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Handbells
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INTERMEDIATE
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Matthew Compton
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One Foundation
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Hope Publishing - Digital
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SheetMusicPlus
Handbells 3-6 Octave handbells - Level 3 - Digital Download SKU: H1.2996DP Arranged by Matthew Compton. Hymntune, Anniversary, Celebration, Commemoration...
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Handbells 3-6 Octave handbells - Level 3 - Digital Download SKU: H1.2996DP Arranged by Matthew Compton. Hymntune, Anniversary, Celebration, Commemoration, Dedication, Festival, General Worship, Church. Handbell score. 12 pages. Hope Publishing - Digital #2996DP. Published by Hope Publishing - Digital (H1.2996DP). Classic Hymn tune This stunning arrangement pairs How Firm a Foundation with The Church's One Foundation and offers a fresh look at the two familiar hymns. Be sure to check out this soft and beautiful rendition set for 3-6 octave handbells and 3-7 octaves of optional handchimes.
$6.50
O God of Love, O King of Peace - Handbell Score
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Handbells
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EASY
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Sandra Eithun
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O God of Love, O King of Peace
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 2 - Digital Download SKU: C7.CGB677 Jesus, Thou Joy of Loving Hearts. Composed by Sandra Eithun. General. Wit...
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3, 4, or 5 octaves handbells - Level 2 - Digital Download SKU: C7.CGB677 Jesus, Thou Joy of Loving Hearts. Composed by Sandra Eithun. General. With 3 octaves handchimes, Flute, Solo or SATB voices. Score. 8 pages. Chorister's Guild - Digital #CGB677. Published by Chorister's Guild - Digital (C7.CGB677). UPC: 749193015650.Level 1 * Listeners will immediately be captivated by a bold opening fanfare and a strong, straightforward tune in this setting of the familiar hymn. With only one bell change, a few shakes, and some dynamic changes, beginning ringers will be able to offer a grand setting for any time when an energetic, celebratory piece is needed. An optional repeat has been included for added length if desired. The two editions are compatible for massed ringing.
$4.50
Stand by Me
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Handbells
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INTERMEDIATE
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Anna Laura Page
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Stand by Me
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4, or 5 octaves handbells - Level 3 - Digital Download SKU: C7.CGB780 Composed by Anna Laura Page. General. With 3 octaves handchimes. Score. 8 pages....
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3, 4, or 5 octaves handbells - Level 3 - Digital Download SKU: C7.CGB780 Composed by Anna Laura Page. General. With 3 octaves handchimes. Score. 8 pages. Chorister's Guild - Digital #CGB780. Published by Chorister's Guild - Digital (C7.CGB780). UPC: 749193017906.Go easy on your music budget with this reproducible collection for Advent and Christmas, which is available in both 2 or 3 and 3, 4 or 5 octave editions, and includes eight of Cathy's most popular arrangements for the season. Three of the pieces also include optional percussion parts. Two of the pieces may be rung on either handbells or handchimes, and one includes optional handchimes with the bells. Contents: Away in a Manger; Come, Thou Long-Expected Jesus; Infant Holy, Infant Lowly; Rejoice! Rejoice! (Rejoice, Rejoice Believers and Oh, Come, Oh, Come Emmanuel); Rise Up, Shepherd, and Follow (There's a Star in the East); Still, Still, Still; 'Twas in the Moon of Wintertime; What Is This Lovely Fragrance?
$4.50
Angels and Shepherds (Downloadable)
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Handbells
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EASY
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Christmas
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Michael Burkhardt
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Angels and Shepherds
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Handbells (3 octaves), with optional F3, D7, and F7 - Digital Download SKU: MQ.30-170-E Composed by Michael Burkhardt. Christmas. Handbell score. 9 pages...
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Handbells (3 octaves), with optional F3, D7, and F7 - Digital Download SKU: MQ.30-170-E Composed by Michael Burkhardt. Christmas. Handbell score. 9 pages. MorningStar Music Publishers - Digital Sheet Music #30-170-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.30-170-E). Based on two carols, one Polish, one French and conceived for use with children. There is a lesson plan included which suggests things to isolate, comment on, and practice. But the piece would be appropriate and enjoyable for any level 2 three octave group. (A few outside bells out of a five octave set are used as well.).
$4.50
I Heard the Bells on Christmas Day - Handbell Score
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Handbells
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INTERMEDIATE
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Christmas
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Anne Krentz Organ and John B C
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I Heard the Bells on Christmas
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Chorister's Guild - Digital
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SheetMusicPlus
3 or 5 octaves handbells - Level 3 - Digital Download SKU: C7.CGB553 Composed by Anne Krentz Organ and John B Calkin. Christmas. With 2 or 3 octaves hand...
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3 or 5 octaves handbells - Level 3 - Digital Download SKU: C7.CGB553 Composed by Anne Krentz Organ and John B Calkin. Christmas. With 2 or 3 octaves handchimes, keyboard. Score. 8 pages. Chorister's Guild - Digital #CGB553. Published by Chorister's Guild - Digital (C7.CGB553). UPC: 749193013427.This arrangement is written for two choirs, with the less-advanced group playing the part for handchime choir. If two choirs are not available, a keyboard may substitute for the handchime choir. The piece begins and ends with a bell peal gaily quoting Joy to the World. The middle section modulates to a new key with a dance-like arrangement for handbells alone and then moves back to the original key as the handchimes join for the closing section.
$4.50
Two Grooves (Full Score)
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Handbells
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EASY
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Cathy Moklebust
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Two Grooves
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Chorister's Guild - Digital
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SheetMusicPlus
3, 4 or 5 octaves handbells - Level 2+ - Digital Download SKU: C7.CGB1244 Composed by Cathy Moklebust. General. With 3, 4 or 5 octaves handbells. Full sc...
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3, 4 or 5 octaves handbells - Level 2+ - Digital Download SKU: C7.CGB1244 Composed by Cathy Moklebust. General. With 3, 4 or 5 octaves handbells. Full score. 20 pages. Chorister's Guild - Digital #CGB1244. Published by Chorister's Guild - Digital (C7.CGB1244). These two original cool jazz pieces, one in D minor and one in C minor, are sure to please! Each may be played in either a straight or swing style, which makes them great for teaching the difference. They are also written with a bell part and a chime part, playable either together or separately, and a complete full score is available showing all parts. Since there are no accidentals, shared bells, or required table techniques, they may be performed without tables. Compatible 2 or 3 octave and 3, 4, or 5 octave editions are available.
$12.95
Come, Thou Long Expected Jesus Handbell Accompaniment for 3 -4 Ringers
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Handbells
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BEGINNER
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Sacred music
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Prichard & Harkness
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Edna J
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Harkness
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Come, Thou Long Expected Jesus
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Bloom Musicnotes
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SheetMusicPlus
Handbell, 2+ Octaves of Handbells - Easy/Beginner - Digital Download Composed by Prichard & Harkness. Arranged by Edna J. Bloom. Christian, Sacred,...
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Handbell, 2+ Octaves of Handbells - Easy/Beginner - Digital Download Composed by Prichard & Harkness. Arranged by Edna J. Bloom. Christian, Sacred, General Worship, Christmas. Score. 11 pages. Published by Bloom Musicnotes
This versatile arrangement comes to the rescue for small groups, new ringers, and last minute assembly. Made to accompany congregational singing or instruments, the scoring adapts from less than two octaves to a full array of bells or chimes. B flat instruments can read from the version a whole step higher to add even more possible combinations. Bell assignment charts streamline bell assignments along with helpful tips. Lyrics are included to assist in keeping place. If you need flexibility, want to combine varying ability levels, or to enhance hymn singing, these three Variations on Come, Thou Long Expected Jesus will deliver. Permission granted to copy for all members of one director/instructor's ensembles.
$6.99
Playing Octaves on Guitar - The B Major Scale
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Guitar notes and tablatures
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INTERMEDIATE
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Chords/Scales
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Instructional
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Traditional
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Danny Crocome
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Playing Octaves on Guitar - Th
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Danny Crocome Music
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1461033 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Pop,Rock. Guitar ...
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Guitar - Level 3 - Digital Download SKU: A0.1461033 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Pop,Rock. Guitar Tab. 1 pages. Danny Crocome Music #1039944. Published by Danny Crocome Music (A0.1461033). This info sheet shows guitarists how to play a 2-octave B major scale using octaves (playing two of the same note name, one octave apart, simultaneously). Playing melodies in octaves is a common stylistic choice in jazz and rock music, and is a great way to make your lead lines sound bigger and clearer. In standard notation and TAB, with fretting hand fingerings notated in the score.
$2.49
Playing Octaves on Guitar - The G# Natural Minor Scale
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Guitar notes and tablatures
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INTERMEDIATE
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Chords/Scales
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Instructional
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Traditional
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Danny Crocome
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Playing Octaves on Guitar - Th
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Danny Crocome Music
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1461073 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Pop,Rock. Guitar ...
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Guitar - Level 3 - Digital Download SKU: A0.1461073 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Pop,Rock. Guitar Tab. 1 pages. Danny Crocome Music #1039984. Published by Danny Crocome Music (A0.1461073). This info sheet shows guitarists how to play a 2-octave G# Natural Minor scale using octaves (playing two of the same note name, one octave apart, simultaneously). Playing melodies in octaves is a common stylistic choice in jazz and rock music, and is a great way to make your lead lines sound bigger and clearer. In standard notation and TAB, with fretting hand fingerings notated in the score.
$2.49
Playing Octaves on Guitar - The C# Harmonic Minor Scale
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Guitar notes and tablatures
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INTERMEDIATE
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Chords/Scales
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Instructional
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Traditional
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Danny Crocome
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Playing Octaves on Guitar - Th
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Danny Crocome Music
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1461661 Composed by Traditional. Arranged by Danny Crocome. Classical,Contemporary,Instructional,Jazz,Rock. G...
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Guitar - Level 3 - Digital Download SKU: A0.1461661 Composed by Traditional. Arranged by Danny Crocome. Classical,Contemporary,Instructional,Jazz,Rock. Guitar Tab. 1 pages. Danny Crocome Music #1040405. Published by Danny Crocome Music (A0.1461661). This info sheet shows guitarists how to play a 2-octave C# Harmonic Minor scale using octaves (playing two of the same note name, one octave apart, simultaneously). Playing melodies in octaves is a common stylistic choice in jazz and rock music, and is a great way to make your lead lines sound bigger and clearer. In standard notation and TAB, with fretting hand fingerings notated in the score.
$2.49
Playing Octaves on Guitar - The F# Dorian Mode
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Guitar notes and tablatures
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INTERMEDIATE
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Chords/Scales
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Instructional
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Traditional
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Danny Crocome
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Playing Octaves on Guitar - Th
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Danny Crocome Music
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SheetMusicPlus
Guitar - Level 3 - Digital Download SKU: A0.1461980 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Pop,Rock. Guitar ...
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Guitar - Level 3 - Digital Download SKU: A0.1461980 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Pop,Rock. Guitar Tab. 1 pages. Danny Crocome Music #1040729. Published by Danny Crocome Music (A0.1461980). This info sheet shows guitarists how to play a 2-octave F# Dorian Mode using octaves (playing two of the same note name, one octave apart, simultaneously). Playing melodies in octaves is a common stylistic choice in jazz and rock music, and is a great way to make your lead lines sound bigger and clearer. In standard notation and TAB, with fretting hand fingerings notated in the score.
$2.49
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