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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
All Of The Lights - Tuba
Non classifié
65
Piano & claviers
Piano seul
63
Piano, Voix et Guitare
22
Piano, Voix
14
Piano Facile
10
Orgue
7
Instruments en Do
3
Piano grosses notes
1
1 Piano, 4 mains
1
Clavier
1
+ 4 instrumentations
Retracter
Guitares
Basse electrique
3
Guitare
3
Paroles et Accords
1
Guitare notes et tablatures
1
Basse électrique (partie séparée)
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
38
Chorale 3 parties
14
Chorale 2 parties
11
Voix Alto, Piano
10
Chorale TTBB
7
Voix duo, Piano
5
Chorale Unison
5
Chorale
3
Chorale SSAA
3
Voix moyenne, Piano
1
+ 5 instrumentations
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Vents
Quatuor de Clarinettes: 4 clarinettes
6
Flûte traversière et Piano
5
Saxophone (partie séparée)
4
Flûte, Hautbois, Clarinette, Basson
2
Hautbois, Piano (duo)
2
Quatuor de Saxophones: 4 saxophones
2
Clarinette (partie séparée)
2
Quatuor de Flûtes : 4 flûtes
2
Flute (partie séparée)
2
Quintette de Clarinettes: 5 clarinettes
1
Ensemble de Clarinettes
1
Hautbois, Guitare (duo)
1
Saxophone Soprano et Piano
1
Ensemble de saxophones
1
Flûte, Clarinette et Basson
1
Clarinette et Piano
1
Hautbois (partie séparée)
1
Saxophone Tenor et Piano
1
Saxophone Alto et Piano
1
Saxophone Tenor
1
Cor anglais, Piano
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
Clarinette
1
Flûte à bec Soprano
1
Trio de Flûtes: 3 flûtes
1
Saxophone Alto
1
Clarinette Basse, Piano
1
Saxophone Baryton, Piano
1
+ 23 instrumentations
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Cuivres
Trompette (partie séparée)
5
Trompette, Piano
2
Ensemble de Trombones
2
Instruments en Sib
2
Euphonium, Piano (duo)
2
Trombone (partie séparée)
2
Trompette
1
Quatuor de cuivres: 4 cors
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor (partie séparée)
1
Cor anglais, Piano
1
Cor
1
Trombone
1
+ 8 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
31
Trio à Cordes: violon, alto, violoncelle
8
Violon et Piano
6
Violon, Violoncelle (duo)
6
Violon
4
Violon, Guitare (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
Violoncelle, Piano
3
2 Violons (duo)
3
Alto, Piano
2
Violoncelle
2
Harpe
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violon (partie séparée)
1
Contrebasse, Piano (duo)
1
Violoncelle , Guitare (duo)
1
Violon, Alto (duo)
1
2 Violoncelles (duo)
1
Trio à cordes
1
Harpe, Flûte (duo)
1
+ 15 instrumentations
Retracter
Orchestre & Percussions
Fanfare
20
Orchestre
9
Orchestre d'harmonie
9
Orchestre à Cordes
8
Ensemble Jazz
3
Batterie (partie séparée)
3
Ensemble de cuivres
2
Jazz combo
1
Ensemble de Percussions
1
Percussion (partie séparée)
1
+ 5 instrumentations
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
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XYLOPHONE
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METHODE : TECHNIQUES
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Crtitères actifs :
All Of The Lights - Tuba
Flûte traversière et Piano
Partitions à imprimer
5 partitions trouvées
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1
Elven Lights
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Flûte traversière et Piano
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AVANCÉ
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Lewis A
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Elven Lights
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Lewis A. Kocher
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SheetMusicPlus
Flute,Piano - Level 5 - SKU: A0.943032 Composed by Lewis A. Kocher. Contemporary,New Age,Standards,World. Score and part. 14 pages. Lewis A. Kocher #462...
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Flute,Piano - Level 5 - SKU: A0.943032 Composed by Lewis A. Kocher. Contemporary,New Age,Standards,World. Score and part. 14 pages. Lewis A. Kocher #4627565. Published by Lewis A. Kocher (A0.943032). ELVEN LIGHTS for FLUTE and PIANOPlaying time: Appx. 3:45 Seasons/Concert venues: Any It is early evening. As the sun sets and the sky darkens, playful and magical lights begin to appear and dance. It is the time of night for the elves, the fairies, and all of their companions to gather and celebrate.Elven Lights is an exciting fantasy for advanced flute and piano performers. Containing both rhythmic and lyrical sections, it also includes a solo passage for the flute as well as for the piano. A perfect concert piece for any time of year, the music conjures up delightful and mystical realms!A special note to dance studios: Elven Lights is an ideal piece to choreograph, and its solo passages can even be used to highlight specific dancers for their own solos. The music can be performed live or prerecorded: local colleges/universities with music departments should be able to supply performers for either option.
$8.95
Flûte en suite
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Flûte traversière et Piano
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AVANCÉ
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Joerg Widmann
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Flûte en suite
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Schott Music - Digital
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SheetMusicPlus
Flute and orchestra - difficult - SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with s...
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Flute and orchestra - difficult - SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027). This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg WidmannThis ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) · 3 (2. auch Ob. d’am., 3. auch Engl. Hr.) · 0 · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - S. (Glsp. · Vibr. · 3 hg. Beck. [h./m./t.] · chin. Beck. · 4 Gongs · 4 Buckelgongs · 2 Tamt. [m./t.] · Wassertamt. · gr. Tr. · Metal Chimes · Peitsche) (2 Spieler) - Hfe. · Cel. (auch Cemb.) - Str. (10 · 8 · 6 · 4 · 3).
$55.99
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred...
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Flute,Piano - Level 3 - SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499833. Published by jmsgu3 (A0.549473). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.BackgroundOp.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt.FormsLikewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality.PhilosophyScriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys.SynesthesiaHe also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. MultimediaHence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain.Modern PerformancesIn modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
#
Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
#
SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred...
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Flute,Piano - Level 3 - SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499727. Published by jmsgu3 (A0.549464). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
Flights with my Flute
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Flûte traversière et Piano
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AVANCÉ
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Paul Saunders
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Flights with my Flute
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Forton Music - Digital
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SheetMusicPlus
Fl. Pft. - Advanced - SKU: F2.FM670 Composed by Paul Saunders. This Trilogy of Flute pieces was composed in 2017. All three pieces take their inspiratio...
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Fl. Pft. - Advanced - SKU: F2.FM670 Composed by Paul Saunders. This Trilogy of Flute pieces was composed in 2017. All three pieces take their inspiration from flying. Score and Parts. 30 pages. Forton Music - Digital #FM670. Published by Forton Music - Digital (F2.FM670). ISBN 9790570485697.
$12.95
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All Of The Lights - Tuba