Download Digital Sheet Music of Don Black for 2 Pianos, 4 hands

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Don Black
Not classified 149

Piano & keyboards
Piano solo 167
Piano, Vocal and Guitar 106
Piano, Voice 89
Easy Piano 39
C Instruments 17

1 Piano, 4 hands 10
Accordion 8
Piano (band part) 4
Organ 3
Piano Accompaniment 3
2 Pianos, 4 hands 1

+ 6 instrumentations

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Guitars
Melody line, (Lyrics) and Chords 18
Guitar 16
Guitar notes and tablatures 15
Bass guitar 11
2 Guitars (duet) 1

Ukulele 1
Guitar (band part) 1
Lyrics and Chords 1
Piano, Guitar (duet) 1

+ 4 instrumentations

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Voice
Choral SATB 33
Choral 3-part 24
Choral TTBB 17
Choral 2-part 14
Choral 6

Choral Unison 5
Vocal duet, Piano 3
Choral SSAA 3
Tenor voice, Piano 2
Voice solo 1

+ 5 instrumentations

- Retract

Woodwind
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 20
Saxophone (band part) 15
Flute 6
Clarinet 6
Saxophone Quartet: 4 saxophones 5

Clarinet (band part) 4
Alto Saxophone 4
Flute, Oboe, Clarinet, Bassoon 3
Tenor Saxophone and Piano 3
2 Clarinets (duet) 2
Oboe, Piano (duet) 2
Oboe (band part) 2
Flute and Guitar 2
Flute Quartet: 4 flutes 2
Flute and Piano 2
Clarinet Quartet: 4 clarinets 1
Clarinet Quintet: 5 clarinets 1
Flute (band part) 1
Saxophone 1
English horn, Piano 1
Tenor Saxophone 1
Alto Saxophone and Piano 1

+ 17 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 10
Trombone (band part) 8
Trumpet (band part) 7
Trombone and Piano 5
Brass Quartet: 4 trombones 4

Trumpet 4
Trumpet ensemble 4
Euphonium, Piano (duet) 2
French Horn and Piano 2
Tuba (band part) 1
Brass Quartet: 2 trumpets, 2 trombones 1
French horn 1
Trumpet, Piano 1
2 Trombones (duet) 1
Trombone 1
English horn, Piano 1
Trombone ensemble 1
French horn (band part) 1

+ 13 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 14
Violin 7
Violin and Piano 7
Violin, Cello (duet) 6
Harp 6

Cello, Piano 4
Doublebass (band part) 4
Violin, Viola (duet) 4
Cello (band part) 4
String Trio: violin, viola, cello 4
Viola, Piano 3
Viola 3
Cello 3
String Trio: 2 violins, cello 2
String Quintet: 2 violins, viola, cello, bass 2
Double bass, Piano (duet) 1
Harp, Voice 1
Cello, Guitar (duet) 1
Viola, Guitar (duet) 1
Cello Ensemble 1
2 Harps (duet) 1
Violin, Guitar (duet) 1

+ 17 instrumentations

- Retract

Percussion & orchestra
Brass ensemble 19
Concert band 17
String Orchestra 15
Orchestra 12
Drums 7

Jazz Ensemble 6
Marching band 4
Percussion (band part) 4
Handbells 3
Jazz combo 3
Percussion 2
Drum (band part) 2
Chamber Orchestra 1
Timpani (band part) 1

+ 9 instrumentations

- Retract

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Don Black

2 Pianos, 4 hands

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Sonata Hymnica No. 6

Sonata Hymnica No. 6 #2 Pianos, 4 hands #INTERMEDIATE/ADVANCED #James Siddons #Sonata Hymnica No. 6 #James Siddons Music and Writings #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...(+)

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. 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 ≈ 9.21€