1 Piano,4 Hands,Bass Voice,Double Bass - Level 1 - Digital Download SKU: A0.1295609 By M-UNIT. By M-UNIT. Arranged by M-UNIT. Hip-Hop,Pop,Romantic Period. Full Performance. Duration 223. M-UNIT #885905. Published by M-UNIT (A0.1295609). I sing this song for my baby telling her how much I love her.

Composed by Traditional. Arranged by Ian Rae. Celtic, Concert, Folk, World. Score and parts. 6 pages. Irma Music #3459955. Published by Irma Music

1 Piano,4 Hands,Bass Voice,Electronic Keyboard,Guitar,High Voice,Organ Accompaniment - Level 3 - Digital Download SKU: A0.1114441 By Aretha Franklin. By Aretha Franklin and Ted White. Arranged by juan carlos esteve / Gran Coda. 20th Century,Funk,Hip-Hop,Historic,R & B,Standards. 21 pages. Juan Carlos Esteve #716316. Published by Juan Carlos Esteve (A0.1114441). • Transcription of sheet music for Piano (2), Bass, Choir (3 Voices), Guitar, Brass (Keyboard), Organ and Soloist (voice). (accompaniment) with chord symbols from the theme Think • The download contains 21 pages in pdf format folio size A4 (21x29.7cm)-(8.27x11.69 in) • Original pitch: Bb • Total number of bars: 65 • Degree of difficulty: Intermediate • This score is set for playing with a group or band. • Click on my website and download more scores: https://partiturasgrancoda.com/.

1 Piano,4 Hands,Bass Voice,Congas,Drums,Electric Guitar,Guiro - Level 5 - Digital Download SKU: A0.1178467 By Jhan Nava. By Jhan Nava. Arranged by luisgarcia906. Contest,Festival,Film/TV,Multicultural,Singer/Songwriter,World. Full Performance. Duration 203. Luisgarcia906 #778431. Published by Luisgarcia906 (A0.1178467). Merengue trap.

Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.1024938 Composed by Abigail Gilson. Contemporary. Score and parts. 11 pages. Abigail Gilson #3631501. Published by Abigail Gilson (A0.1024938).          A Conversation is a duet that represents the feeling of falling in love. Starting off slow and daunting at first, with shifts and odd dynamics and rhythms as you just allow yourself to fall into this new feeling. Then, the piece takes off. With confusing chords, a ground bass but always a visible motet. The ground bass always sounds like it may rush, like any second the pianist could speed up and leave the other pianist behind but it never does. The voices often trade parts and dance back and forth. With the treble line taking off suddenly, ending the ground bass line. The last section has question chords, and unresolved lines as a relationship starts to lose the new lover buzz and falls into a steady rhythm. Some may feel that the relationship is ending, that the two pianos don’t sound the same as they used to together. But really the two pianos have found their music. They don’t need to experiment with different rhythms, keys, or time signatures. They know what sounds good together, they can continue to make music forever.

1 Piano,4 Hands,Piano Duet - Level 3 - Digital Download SKU: A0.1516946 By The Beach Boys. By Brian Wilson and Mike Love. Arranged by Wendy Hellmann. Christmas,Holiday,Pop,Rock. Score. 13 pages. Gwendolyn Hellmann #1091124. Published by Gwendolyn Hellmann (A0.1516946). This arrangement of Little Saint Nick by the Beach Boys is for the late intermediate piano duo. It has been transposed from the original key to G Major for ease of playing. Piano Primo plays with both hands in treble clef throughout and has several sections of LH crossing over the RH. There are also a few octave jumps for echoes heard throughout the piece. Piano Secondo keeps a steady beat and bass line and is written with 2 voices in the RH. This is the perfect addition to your holiday repertoire and is great for those who would like to play something other than traditional Christmas music! The PDF download contains both a full score and a set of individual parts - Piano Primo and Piano Secondo.

1 Piano,4 Hands,Acoustic Guitar,Alto Voice,Cello,Double Bass,Flute,Percussion,Suspended Cymbal,Tenor Voice,Viola,Violin - Level 3 - Digital Download SKU: A0.1333719 Composed by Alan Menken and Glenn Slater. Arranged by Keith McCauley. Broadway,Film/TV,Folk,Musical/Show,Pop. 39 pages. Cantus Youth Choirs Publishing #920015. Published by Cantus Youth Choirs Publishing (A0.1333719). Cantus Youth Choirs presents I See the Light from Walt Disney's TANGLED. Rapunzel, searching for what the floating stars are, and Flynn, searching for meaning in a life of theivery, both find what they're looking for in a magical moment together. For vocal duet, piano, acoustic guitar, flute, violin 1, violin 2, viola, cello, double bass, mark tree and sus. cymbal.

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.890701 Composed by John Pitts. Baroque,Contemporary. Score and parts. 36 pages. Intensely Pleasant Music #3424663. Published by Intensely Pleasant Music (A0.890701). Passacaglia (2000-2012) duet 6 minutes This piece also exists in versions for organ (my original version in 2000) and orchestra (performed by Bristol University Symphony Orchestra under the baton of John Pickard in 2001). The piano duet version was finally completed in 2012.  The theme is based on the ground bass from Bach’s stonking Passacaglia in C minor for organ. However, the implied harmonies of Bach’s original ground bass are treated to some twisted harmonies – where each chord is altered using a system of harmonic substitution - swapping each chord implication for a newly chosen one (Cm=C, Fm=F#, G=A, Dm=A¨, Eb=F and on it goes around the 12 chromatic notes).  Each key therefore has a ‘dominant’ and ‘subdominant’ that are not the actual chords V and IV in that key, so the traditional cadences and chord relationships are supplanted by 12 individual 3-chord relationships – one set of three chords for each of the 12 (now almost exclusively major) keys. In an attempt to recreate the pulls of the traditional tonic-dominant-subdominant relationships, each key then also has a particular mode/scale with particular added notes that are designed to recreate the sense of moving away from and back towards the home chord of that key. This results in a lot of rich added harmonies and some idiomatic voice-leading. Bach’s original theme in Cm is: C G - E¨ F - G A¨  - F G - D E¨ - B C -   F G   - C, and in the opening statement of the ground bass this has become: C A - E F# - A B¨ - F# A - D# E - C# C - F# A - C. There are then 21 variations which modulate through a range of keys, during which the ground bass is constantly re-adjusted to fit the new harmonic areas. It starts in C major, then goes through ‘closely’ related keys (eg A major and A¨ major), and then back to C in variations 6, 9 and 11. This kind of arch then happens again but going through more distant keys before returning to C in variations 18, 19 and the final climactic variation 21. Leaving aside the structural and tonal nuts and bolts, my aim was to compose a piece that attempts to recapture some of the nobility and beauty of Bach's Passacaglia, with rich added note harmonies, and exuding an exuberant joy.