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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
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Sing, Sing, Sing: Piano Accompaniment
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
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CHORALE - CHAN…
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Crtitères actifs :
Sing, Sing, Sing: Piano Accompaniment
expert
Flûte traversière et Piano
Partitions à imprimer
8 partitions trouvées
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1
30 Baroque Concertos - Flute and Piano
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Flûte traversière et Piano
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AVANCÉ
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Classique
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Various baroque composers
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Santino Cara
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30 Baroque Concertos - Flute a
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Santino Cara
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SheetMusicPlus
Piano Accompaniment, Flute - Advanced - Composed by Various baroque composers. Arranged by Santino Cara. Baroque Period. Sheet Music Single, Solo Part. 57...
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Piano Accompaniment, Flute - Advanced - Composed by Various baroque composers. Arranged by Santino Cara. Baroque Period. Sheet Music Single, Solo Part. 576 pages. Published by Santino Cara
30 beautiful concerts of the most famous composers of the Baroque period transcribed for flute and piano by Santino Cara over the years. Bach, Vivaldi, Telemann, Pergolesi, Scarlatti, Sammartini, Marcello, Brescianello, Platti, Sarro, Lucchesini.
In this collection, along with the complete scores of the 30 concerts, they are also included the separate parts of the flute.
$44.60
Guthrie: Toccata Agitato for Flute & Piano
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Flûte traversière et Piano
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AVANCÉ
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James M
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Guthrie: Toccata Agitato for F
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jmsgu3
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SheetMusicPlus
Flute,Piano - Level 5 - SKU: A0.1384671 Composed by James M. Guthrie. 21st Century,Chamber,Contemporary,Contest,Festival,Wedding. Score and part. 27 pag...
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Flute,Piano - Level 5 - SKU: A0.1384671 Composed by James M. Guthrie. 21st Century,Chamber,Contemporary,Contest,Festival,Wedding. Score and part. 27 pages. Jmsgu3 #968948. Published by jmsgu3 (A0.1384671). A concert solo or encore with piano accompaniment. A good encore is essential for a concert as it can be the show's highlight and leave a lasting impression on the audience. While encores were traditionally spontaneous, they have become a customary part of a concert's script, with performers often planning them. Encores allow artists to play fan favorites, respond to audience enthusiasm, and create a memorable conclusion to the show. They can also provide a break for the performers. However, some artists and concertgoers have disapproved of encores becoming a routine part of the show, as they can feel disingenuous when expected rather than spontaneous. Despite this, encores remain an expected and significant element of many live performances.
$32.95
Flat as a Flute - Flute solo w piano accompaniment
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Flûte traversière et Piano
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AVANCÉ
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Mike Lyons
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Flat as a Flute - Flute solo w
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Lyons Music Services
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SheetMusicPlus
Flute,Piano - Level 5 - SKU: A0.767321 Composed by Mike Lyons. Concert,Contemporary. Score and part. 23 pages. Lyons Music Services #3473849. Published ...
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Flute,Piano - Level 5 - SKU: A0.767321 Composed by Mike Lyons. Concert,Contemporary. Score and part. 23 pages. Lyons Music Services #3473849. Published by Lyons Music Services (A0.767321). A brand new solo for flute and piano. There's a little bit of horseplay between the flute and piano, the flautist needs to be able to double tongue and to use flutter tongue. There's a bit of a simple cadenza to start, followed by some interplay between the flute and piano pretending to tune. Then follows a march-like section with some deliberate discords in the flute. As this section becomes louder and more animated, the players should act cross with each other!Then follows a dreamy little melodic section in waltz time. There's lots of chromatic work in this section. The piano now dominates for a short while with a melodic idea, based on the flute's waltz melody bot with tremolos which gives the music an almost zither-like feel (expect the Third man to walk on stage. After this, the flute returns to dominance but gets interrupted by the piano who is missing being in the limelight!At the change to a quicker tempo and a major key - still with 'out of tune notes' the two 'play nicely together' for a while before it all goes to pot again when the flute develops hiccups! This leads back to an altered version of the original march tune, but faster.This time the two find common ground on the 8ve leaps and the piece finishes with a short codetta. A great show-off piece for the finale of a concert, allowing both the soloist and accompanist to sparkle.
$5.99
Breeze for Flute and Piano (2023)
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Flûte traversière et Piano
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AVANCÉ
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Iva Ugrcic, flute and Satoko H
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Breeze for Flute and Piano
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Mary Ellen Haupert
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SheetMusicPlus
Flute,Piano - Level 5 - SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Chamber,Classical. ...
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Flute,Piano - Level 5 - SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Chamber,Classical. Score and part. 8 pages. Mary Ellen Haupert #905092. Published by Mary Ellen Haupert (A0.1316351). “Breeze†for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)“Breeze†was written for flutist Iva UgrÄić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of “Breeze†is a yodel in D Major that dissolves into a lapping piano accompaniment – the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the “loons†pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze†in a balanced ABA’ form.
$10.00
Sheep May Safely Graze - J. S. Bach, for Flute and Piano
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Flûte traversière et Piano
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Len Rhodes
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Sheep May Safely Graze - J. S.
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Len Rhodes Music Inc
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SheetMusicPlus
Piano Accompaniment, Flute - Advanced - Composed by Johann Sebastian Bach (1685-1750). Arranged by Len Rhodes. Baroque Period, Lent, Wedding, Funeral, Rec...
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Piano Accompaniment, Flute - Advanced - Composed by Johann Sebastian Bach (1685-1750). Arranged by Len Rhodes. Baroque Period, Lent, Wedding, Funeral, Recital. Score, Sheet Music Single, Solo Part. 6 pages. Published by Len Rhodes Music Inc
$5.99
Fastnet Rock
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Flûte traversière et Piano
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AVANCÉ
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Contemporain
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Jamie Farrow
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Fastnet Rock
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Jamie Farrow
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SheetMusicPlus
Flute,Piano - Level 5 - SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by J...
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Flute,Piano - Level 5 - SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.
$2.99
Flute Sonata
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Flûte traversière et Piano
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AVANCÉ
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Brian Inglis
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Flute Sonata
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Forton Music - Digital
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SheetMusicPlus
Fl. Pft. - Advanced - SKU: F2.FM530 Composed by Brian Inglis. Flute and Piano. Score and Part. 29 pages. Forton Music - Digital #FM530. Published by For...
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Fl. Pft. - Advanced - SKU: F2.FM530 Composed by Brian Inglis. Flute and Piano. Score and Part. 29 pages. Forton Music - Digital #FM530. Published by Forton Music - Digital (F2.FM530). ISBN 9790570484294.The composition of this sonata spans the period of my undergraduate studies at Durham University. In the first movement, an overall A minor feel is challenged by the near-atonal way in which the main gesture is developed; and by the intermittently chromatic, pentatonic and whole-tone scalic material which emerges in the piano accompaniment. In the coda [from bar 100] obsessive repetition of chords and single notes threatens to take over, until the tension is resolved onto bare E's (the note with which the movement began). Part of this movement was written in Siena on a summer holiday with my parents; the vivid presence of the Tuscan cicadas is echoed in the flute's fluttertonguing. The Passacaglia second movement can also be performed as a standalone piece. Shades of Bartok's 'night music' style are evident in the central section, where after a short flute cadenza the soloist flutters and mutters above limpid piano arpeggios. In the outer sections, a calm flute melody appears above the block chords of the piano's passacaglia cycle. In contrast to the heat of Italy, this movement was inspired by the image of an icy river connecting different wintry landscapes of cold light snow. A scherzo finale rounds off the sonata, dominated by trills emerging from a theme which rhythmically reconfigures the main gesture from the opening movement. In the central Trio [bars 39-49] the melody from the second movement is recalled to bind everything together. As with the first movement, the coda [from bar 99] develops its own repetitive momentum.
$12.95
The Vivaldi's Four Seasons for Flute and Piano
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Flûte traversière et Piano
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AVANCÉ
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Classique
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Vivaldi Antonio
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Santino Cara
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The Vivaldi's Four Season
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Santino Cara
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SheetMusicPlus
Composed by Vivaldi Antonio. Arranged by Santino Cara. For Piano Accompaniment,Flute. Baroque Period. Advanced. Sheet Music Single. 83 pages. Published by Santi...
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Composed by Vivaldi Antonio. Arranged by Santino Cara. For Piano Accompaniment,Flute. Baroque Period. Advanced. Sheet Music Single. 83 pages. Published by Santino Cara
$22.30
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Sing, Sing, Sing: Piano Accompaniment