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.

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. 

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.

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.

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. 

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.  

 

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.

Piano,Vocal,Voice - Level 2 - Digital Download

SKU: A0.889824

By Hank Williams. By Hank Williams. Arranged by Ginny Saltzman. Country. Score. 5 pages. Ginny's House of Music #4763123. Published by Ginny's House of Music (A0.889824).

I Saw The Light - An old favorite Country-Western song by Hank Williams.  Arranged especially for older piano students on Late Elementary Level – Early Intermediate Level, and adults playing popular arrangements using very basic chords- G,C, and D7. 　

If you happen to have a PSR Keyboard, these basic chords are positionally written so that this could be played with a Country-Western Beat using automatic chords on a PSR Synthesizer.

Electronic Keyboard,Instrumental Solo - Level 3 - Digital Download

SKU: A0.1451467

Composed by Amedeo Minghi. Arranged by Jo Fulham. Film/TV. Individual part. 2 pages. Jo Fulham #1030849. Published by Jo Fulham (A0.1451467).

The Fantaghiro Theme in a version for (electronic) keyboard with a keyboard range of at least five octaves.

For the audio file (in split mode without automatic accompaniment) GM-Sound No. 73 Piccolo was used for the right hand and GM-Sound No. 51 Synth Strings 1 was used for the left hand.

The split point is in the 3rd keyboard-octave at Db 3.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1457446

By The Pointer Sisters. By Brock Walsh and Mark Goldenberg. Arranged by Will Corbin. Pop. 22 pages. Will Corbin #1036470. Published by Will Corbin (A0.1457446).

From the Department of Don't Do It: A brass quintet take on the Pointer Sisters' version of Automatic. Their original had lots of electronic background stuff going on, plus a load of percussion. What's left without that is a lot of tricky rhythms, since the horns have to carry the rhythmic load. A hint: Count it in 8/8 to work it out. That's what I had to do.
If you require alternative instrumentation, I'm happy to accommodate. Contact me at wilcor@aol.com.

Solo Guitar - Level 3 - Digital Download

SKU: A0.1327548

Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 83 pages. Socrates Arvanitakis #915591. Published by Socrates Arvanitakis (A0.1327548).

FROM THE PREFACE

The fourth volume of Renaissance music for classical guitar contains twenty mostly well-known and a few more rare intermediate Renaissance pieces taken mainly from lute and vihuela sources.
I have tried to keep the upper level of technical difficulty to the contemporary grade VI level of the A.B.R.S.M. which takes the student to the advanced level (grades VII-VIII).

The pieces are given in two versions, first as decorated pages in ordinary notation, and then the same pieces are again given in undecorated pages of notation and tablature. Therefore each volume contains two books in one and the choice is left to the user whether to keep the volume as presented, or to construct his own book by inclusion or deletion of unwanted pages, blank pages, etc, for use either as a printed or a tablet-screen book version. The addition of tablature of course results in increasing the number of pages needed for the presentation of the pieces, therefore the staff sizes are here reduced to an appropriate degree which can maintain the two-page view principle of any piece without need for automatic or manual page turners, foot pedals etc.

THEMATIC INDEX OF THIS VOLUME  & NAVIGATION BY ACTIVE LINKS

The thematic index following the cover page of this volume contains active links to the decorated pages of the pieces.
The titles of the pieces are also active links interconnecting decorated and tablature pages of the same piece.
The header in pages containing  the title of a piece is an active link bringing back to the thematic index.
The YOUTUBE logo icons in the thematic index are external links to particular performances of these pieces by various artists.

Socrates Arvanitakis
London 2023

CONTENTS

Pavana 1 Luys Milan
Pavana 2 L. Milan
Pavana 3 L. Milan
Pavana 4 L. Milan
Pavana 5 L. Milan
Pavana 6 L. Milan
Gallarda - Alonso de Mudarra
Guardame las Vacas I - Luis de Narvaez
Guárdame las vacas II - Luis de Narvaez
Dance Of The Washerwomen - Hans Neusidler
Tedesca - Anonymous
Almain - Richard Allison
Greensleeves 1-traditional/Anonymous
Greensleeves 2- Francis Cutting
Alman in Am - Robert Johnson
The Round Battle Galliard - John Dowland
The King of Danemark's Galliard - John Dowland
The Night Watch - Anthony Holborne
The Cobbler - Anonymous
Go From My Window - Anonymous.

Piano Solo - Level 5 - Digital Download

SKU: A0.1015783

Composed by Friedrich Stern. Concert,Contemporary,Romantic Period,Standards. Score. 5 pages. Vicente Trompieri #5955307. Published by Vicente Trompieri (A0.1015783).

An original piano piece.
Listen to the mp3 to become familiar with the piece,then practice with the metronome. First at a low speed then you gradually increase the speed to the indicated speed. If you want more natural practice use the foot beat as a metronome. It’s important you become aware of the beats during the whole learning process of the piece until it becomes automatic. Also follow the voice leading for each hand. I tried to do the voice leading when I compose this piece the most natural and anatomical for both hands. The piece is very piano-like and has a full sound.

Piano Solo - Level 1 - Digital Download

SKU: A0.803290

Composed by American Folk. Arranged by Paul Taylor. Instructional. Score. 2 pages. Paul Taylor #4614941. Published by Paul Taylor (A0.803290).

This little tune is a great vehicle for introducing the primary chords in the first five keys of the circle of flats. The familiarity of the tune and the exact repetition of the chord pattern in the keys of C G D A E and B will give the beginning  pianist the basis for harmonization and transposition. Automatic hand movement to find the primary chords in the left hand is an essential skill for acquiring anunderstanding of key signatures and their relationship to the circle of 5ths. .

Composed by Various. Arranged by Socrates Arvanitakis. Renaissance. Individual part. 77 pages. Socrates Arvanitakis #889149. Published by Socrates Arvanitakis

Bass Guitar TAB - Level 3 - Digital Download

SKU: A0.1435612

By R.E.M. By Michael Mills, Michael Stipe, Peter Buck, and William Berry. Arranged by Jared Plane. Folk,Pop,Rock. Score. 5 pages. Jared Plane #1015701. Published by Jared Plane (A0.1435612).

Mike Mills' original bass line as played to the R.E.M. song, Man On The Moon from the 1992 album, Automatic for the People. This PDF download comes with both Standard Notation, bass TAB and chord symbols.