Partitions Numériques de Heard a Word pour 2 Pianos, 4 mains

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Heard a Word
Non classifié 101

Piano & claviers
Piano seul 53
Piano, Voix 40
Piano, Voix et Guitare 16
Piano grosses notes 4
Orgue 4

Piano Trio: piano, violon, violoncelle 2
2 Pianos, 4 mains 2

Piano Facile 2
Orgue, Piano (duo) 2
Accompagnement Piano 1
1 Piano, 4 mains 1

+ 6 instrumentations

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Guitares
Guitare notes et tablatures 4
Mandoline, Guitare (duo) 2
Guitare 2
Ukulele 1

Voix
Chorale SATB 62
Chorale 3 parties 19
Chorale 2 parties 13
Voix duo, Piano 8
Chorale TTBB 8

Chorale Unison 7
Voix duo 6
Chorale SSAA 3
Voix Soprano, Piano 3
Voix haute 1
Voix Tenor, Piano 1

+ 6 instrumentations

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Vents
Quatuor de Saxophones: 4 saxophones 4
Flûte traversière et Piano 4
Ensemble de saxophones 4
Quintette de Saxophone: 5 saxophones 4
Flûte, Hautbois, Clarinette, Basson 4

2 Saxophones (duo) 3
Saxophone Alto et Piano 3
Ensemble de Clarinettes 3
Saxophone Tenor et Piano 2
Hautbois, Basson (duo) 2
Saxophone Soprano et Piano 2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 2
Clarinette et Piano 2
Quatuor de Clarinettes: 4 clarinettes 2
2 Clarinettes (duo) 2
Flûte et Guitare 1
Saxophone et Orgue 1
Hautbois, Piano (duo) 1
3 Saxophones (trio) 1
3 Clarinettes (trio) 1
2 Hautbois (duo) 1
Ensemble de Flûtes 1
2 Flûtes traversières (duo) 1
Quintette de Flûte : 5 flûtes 1

+ 19 instrumentations

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Cuivres
Quatuor de cuivres: 4 trombones 12
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 8
Quatuor de Cuivres : 2 trompettes, trombone, tuba 4
Quatuor de Cuivres: 2 trompettes, Cor, trombone 4
Trompette, Tuba (duo) 2

Ensemble de Trombones 2
2 Trombones (duo) 2
2 Trompettes (duo) 2
Trombone et Piano 2
Cor et Piano 1
Trompette, Piano 1
Tuba 1
Tuba et Piano 1
2 Cors (duo) 1
Trio de Cuivres 1
Quatuor de Cuivres 1
3 Trombones (trio) 1
Euphonium, Piano (duo) 1

+ 13 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 6
Violon et Piano 3
Violoncelle, Piano 3
Violoncelle 2
Piano Trio: Violon, Alto, Piano 2

Violon 2
Trio à Cordes: violon, alto, violoncelle 2
2 Violons (duo) 1
2 Violoncelles (duo) 1
Alto, Piano 1
2 Altos (duo) 1
Violoncelle , Guitare (duo) 1
Violon, Alto (duo) 1
Trio à Cordes: 2 violons, violoncelle 1
Ensemble d'Altos 1
Ensemble de Violons 1
Harpe, Voix 1

+ 12 instrumentations

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Orchestre & Percussions
Orchestre 6
Orchestre d'harmonie 6
Orchestre à Cordes 5
Cloches 5
Ensemble de cuivres 3

Orchestre de chambre 2
Ensemble Jazz 2
Jazz combo 1

+ 3 instrumentations

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Heard a Word

2 Pianos, 4 mains

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2 partitions trouvées

THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7)

THREAD, Between the Octaves A Piano Duo Suite (Movement 3 of 7) #2 Pianos, 4 mains #Classique #dislocation I mean a degree of #Jenni Roditi #THREAD, Between the Octaves A #Jenni Roditi #SheetMusicPlus

Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published b...(+)

Instrumental Duet,Keyboard - SKU: A0.1497847 Composed by Jenni Roditi. 21st Century,Classical,Contemporary. 11 pages. Jenni Roditi #1074259. Published by Jenni Roditi (A0.1497847). Piano Duo 2 pianos/4 hands. Thread, Between the Octaves grew out of the call the make a single line weave between the octaves. Line was the original title. Thread, as a word, brings more texture to the title and describes what the line is actually doing, threading around the harmony. A secondary thread is heard after a while, echoing and shading the primary line, with its own treble weave. It was like going back to the beginning of making melody again.Names of all the movements in the suite Between the Octaves in the right order are Initiate, Surrender, Thread, Curve, Encircle, Ritualise, Ignite. The whole suite follows a long line from movement 1 to movement 7. However, individual pieces are well suited to be played alone too. Piano Duo is ideally two Steinway grands, otherwise, whatever is available. An enjoyment of the tensions and relationships generated between the two instruments: grand-upright, upright-electronic keyboard is to be explored as a positive. Each piece creates its own world in the suite and can be part of smaller subgroups taken from the suite, in any combination, but the order of the pieces needs to be maintained if more than one is played. Here is a taste of the background to the musical world of this 53 minute compositional suite. During a reflective time I read the following: The whole philosophy of dharma art (Buddhist art) is that you don't try to be artistic, but you just approach objects as they are, and the message comes through automatically. (Chogyam Trungpa Rinpoche, from 'True Perception The Path of Dharma Art.' Shambhala 2008, p.133.) The 'objects as they are' became the 'octaves as they are'. As the pieces were composed the octaves had a centring and clarifying role that allowed other material to circulate around or play against them. They acted as pivots, repetitions, drones, ostinati, pointillist nodes, pedals, melodic features, struts, harmonic turnpikes, breathing spaces, bass lines: musical imperatives. The octaves called the musical shots most of the time. When the music pulled a semitone up or down and away from the octaves (as it did quite often) it was especially telling in the context of the ringing spaces the octaves were creating. I became interested in the subtle dislocation that two pianos could provide. By dislocation I mean a degree of tension between the natural acoustics of the two instruments in the room and the players idiosyncrasies as musicians. The whole point of this work was to examine the nature of my syntax, grammar, and compositional thinking. The title demanded one thing above all: what notes am I going to use between these octaves?? My choice of notes was derived in most instances from the tempo, pitch, and rhythm of the initial octaves at the beginning of each piece alongside the individual word titles that I set out to explore as musical images. The audio was developed from Sibelius software, via MIDI to Logic samples of a Steinway grand piano.

$20.00 ≈ 18.34€

Sonata Hymnica No. 6

Sonata Hymnica No. 6 #2 Pianos, 4 mains #INTERMÉDIAIRE/AVANCÉ #James Siddons #Sonata Hymnica No. 6 #James Siddons Music and Writings #SheetMusicPlus

2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...(+)

2 Pianos,4 Hands,Piano Duet - Level 4 - 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. OneÂ performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the trebleÂ staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianosÂ doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern thatÂ begins in measure 37. A standing conductor (not playing piano) may be desired. Â Although repetitive, the music in this sonata rarely repeats itselfÂ exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oralÂ tradition. ProgramÂ Note (for use in concert programs) by James Siddons Â The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns andÂ 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 wordsÂ sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for pianoÂ ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixthÂ sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shapedÂ by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours andÂ cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from theÂ Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speakÂ ofÂ 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 strainsÂ 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-centuryÂ African Americans. He refers to their singing as the Frenzy or â€˜Shouting,â€™ when the Spirit of the Lord passed by, and seizing theÂ devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms,Â 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 wellÂ as percussive polyrhythms.

$10.00 ≈ 9.17€

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