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--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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BATTERIE
BOUZOUKI
CHORALE - CHAN…
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DEEJAY
DIDGERIDOO
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D. Otto
Non classifié
57
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Piano seul
32
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22
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3
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3
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3
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1
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1
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1
Orgue
1
+ 4 instrumentations
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Guitare
5
Ukulele
4
4 Guitares (Quatuor)
3
2 Guitares (duo)
3
Guitare (partie séparée)
2
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1
Guitare notes et tablatures
1
3 Guitares (trio)
1
+ 3 instrumentations
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Voix
Chorale SATB
7
Chorale 2 parties
3
Voix haute
1
Chorale TTBB
1
Voix duo
1
Voix duo, Piano
1
Chorale 3 parties
1
+ 2 instrumentations
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Saxophone (partie séparée)
6
Quatuor de Clarinettes: 4 clarinettes
5
Flûte traversière
4
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3
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3
Saxophone
3
Clarinette
3
2 Hautbois (duo)
2
Flûte traversière et Piano
2
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2
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1
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1
Saxophone Tenor et Piano
1
Saxophone Soprano et Piano
1
Saxophone Tenor
1
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1
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1
Saxophone, Clarinette (duo)
1
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1
Quintette de Clarinettes: 5 clarinettes
1
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9
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6
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4
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4
Trombone
2
Trompette
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
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1
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1
2 Cors (duo)
1
Trompette, Euphonium (duo)
1
2 Trombones (duo)
1
3 Trombones (trio)
1
Quatuor de cuivres: 4 trombones
1
+ 9 instrumentations
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10
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6
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4
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3
Alto seul
2
Violon (partie séparée)
2
2 Violons (duo)
1
Contrebasse (partie séparée)
1
Alto, Violoncelle (duo)
1
Violoncelle, Piano
1
Contrebasse, Piano (duo)
1
Alto, Piano
1
Violoncelle (partie séparée)
1
Violoncelle
1
Contre Basse
1
+ 10 instrumentations
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Orchestre d'harmonie
156
Orchestre à Cordes
5
Ensemble de cuivres
3
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3
Batterie
2
Orchestre
1
Cloches
1
Ensemble Jazz
1
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--INSTRUMENTS--
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AUTOHARPE
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Vous avez sélectionné:
D. Otto
Flûte traversière et Piano
Partitions à imprimer
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Flûte en suite
Flûte traversière et Piano
Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and …
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Flute and orchestra - difficult - Digital Download 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
51.62 €
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Flûte traversière et Piano
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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
A Night In Tunisia
Flûte traversière et Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.747025 By Dizzy Gillespie. By Dizz…
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Flute,Piano - Level 3 - Digital Download SKU: A0.747025 By Dizzy Gillespie. By Dizzy Gillespie and Frank Paparelli. Arranged by Keith Terrett. Jazz. Score and part. 12 pages. Keith Terrett #5899351. Published by Keith Terrett (A0.747025). A great sounding arrangement of A Night in Tunisia arranged for Flute & Piano, Flautists will love this!A jazz solo is written out for you, if you wish you can improvise on the given chord symbols!A Night in Tunisia is a musical composition written by Dizzy Gillespie around 1941–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard.It is also known as Interlude. Gillespie called the tune Interlude and said some genius decided to call it 'Night in Tunisia'. He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. A Night in Tunisia was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame.On the album A Night at Birdland Vol. 1, Art Blakey introduced his 1954 cover version with this statement: At this time we'd like to play a tune [that] was written by the famous Dizzy Gillespie. I feel rather close to this tune because I was right there when he composed it in Texas on the bottom of a garbage can. The audience laughs, but Blakey responds, Seriously. The liner notes say, The Texas department of sanitation can take a low bow.The complex ostinato bass line in the A section is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V, a tritone substitute chord for the dominant chord) gives the song a unique, mysterious feeling. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard Alone Together, causing the V chord to lead back into the Sub V of the A section.Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections - in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
$8.99
8.29 €
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Flûte traversière et Piano
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Dizzy Gillespie
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Keith Terrett
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A Night In Tunisia
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Keith Terrett
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SheetMusicPlus
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D. Otto
