Instrumental Duet Instrumental Duet - Level 4 - Digital Download SKU: A0.914984 Composed by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Children,Classical,Holiday,Instructional,Jazz. Score and parts. 7 pages. White Piano International Publishing #6720309. Published by White Piano International Publishing (A0.914984). THE BLACK CAT WALTZ (Piano Duet) One Piano / Four HandsAdvanced Intermediate Approx. Performance TIme: 2:306 PagesOriginally composed in 2002 as a piano solo, THE BLACK CAT WALTZ was arranged years later as a One Piano, Four Hands Duet in 2010.The sheet music is clearly notated with dynamic and articulation marks, phrasing, suggested fingerings and appropriate musical terms for playing.Both Primo and Secondo players each have numbered measures and sections with easy to locate corresponding bars.The piece is written in the key of D minor. It then changes to G minor at measure 76 giving a refreshing color to the melody.THE BLACK CAT WALTZ (Duet) makes a wonderful piano selection for two advanced intermediate students - great for teaching ensemble techniques. It is an appropriate piece for Halloween, recitals and school musical events...a delightful listening treat for audiences.The sample music is a March 13, 2011 premier live performance at the KPMF Piano Ensemble Club Spring Concert performed by Hiro Nakae and Ryota Watanabe, both students of Yoko Kurosawa. Here is their video: http://www.youtube.com/watch?v=8rDI5JwiLOYA Youtube video of Robert's original solo performance of THE BLACK CAT WALTZ in 2009 is available at: http://www.youtube.com/watch?v=qGtzxCdSlrQRobert's Official Website: www.robertvanhorne.comASCAP AffiliationWebsite: www.robertvanhorne.comEmail: rvh@robertvanhorne.com

Instrumental Duet Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.596536 Composed by Juan María Solare. 20th Century,Concert,Contemporary,World. Score and parts. 11 pages. Juan Maria Solare #3866447. Published by Juan Maria Solare (A0.596536). Vendetta, for piano for hands Vendetta [Vengeance] was composed in Bremen from 6 to 10 May 2017. Premiere: by Juan María Solare and Selma Hande Gade, recital Piano from Lands of Passion at the Schott Recital Room in London, England. Also performed by both musicians at the church St Martin within Ludgate in London.  German premiere: by Juan María Solare and Selma Hande Gade, 2/NOV/2017 at the church St Stephani Kulturkirche, Bremen. Premiere in Denmark: by Juan María Solare and Selma Hande Gade, 27/JAN/2018, Juhl Ohrensen (Steinway Hall), Copenhagen, Denmark. Also performed by both musicians at the Messiaskirken, Charlottenlund, Denmark, on 28/OCT/2018. New performance planned in Istanbul, Turkey, in April 2019   https://www.youtube.com/watch?v=yYpNbI9ztL8  

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.