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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
2 Sonata
Non classifié
227
Piano & claviers
Piano seul
212
Orgue
5
2 Pianos, 4 mains
4
1 Piano, 4 mains
3
Piano, Voix
2
Instruments en Do
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
Accompagnement Piano
1
Piano, Voix et Guitare
1
Piano Facile
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
2 Guitares (duo)
63
Guitare
26
Guitare notes et tablatures
9
Piano, Guitare (duo)
2
2 Mandolines (duo)
1
3 Guitares (trio)
1
Ensemble de guitares
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 3 instrumentations
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Voix
Chorale 2 parties
3
Chorale SATB
1
Vents
2 Flûtes traversières (duo)
61
Flûte traversière
53
2 Clarinettes (duo)
37
2 Saxophones (duo)
37
Flûte et Guitare
28
2 Clarinettes, Basson
25
Flûte traversière et Piano
23
3 Clarinettes (trio)
19
Flûte à Bec
16
Clarinette et Piano
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
16
Flûte, Clarinette et Basson
15
Flûte, Hautbois, Clarinette (trio)
15
Flûte, Hautbois, Basson
13
Hautbois, Piano (duo)
13
3 Saxophones (trio)
12
2 Hautbois (duo)
12
Saxophone Alto et Piano
12
Saxophone Soprano et Piano
11
Saxophone Tenor et Piano
11
Trio de Flûtes: 3 flûtes
10
Saxophone Baryton, Piano
10
2 Flûte à bec (duo)
9
Flûte traversière, Basse continue
8
Clarinette Basse, Piano
8
Flûte, Clarinette (duo)
8
Flûte, Hautbois, Clarinette, Basson
8
Cor anglais, Piano
7
Hautbois, Basson (duo)
6
Clarinette, Violoncelle (duo)
5
Hautbois, Clarinette (duo)
5
Clarinette et Alto
5
Flûte, Violoncelle
5
Clarinette, Basson (duo)
5
Flûte, Violon et Violoncelle
5
Clarinette
5
Quintette de Saxophone: 5 saxophones
5
Quatuor de Clarinettes: 4 clarinettes
5
Quatuor de Flûtes : 4 flûtes
5
Ensemble de Clarinettes
4
Ensemble de Flûtes
4
Clarinette, Violon (duo)
4
Quatuor de Saxophones: 4 saxophones
4
Flûte, Alto (duo)
3
2 Hautbois et Basson
3
Flûte, Violon
3
2 Flûtes, Basse continue
2
Saxophone Alto
2
Flûte à bec Soprano
2
Flûte, Violon, Piano
2
Quintette de Clarinettes: 5 clarinettes
2
2 Flûtes traversières, Piano
2
Flute, harpe et violon
1
Hautbois, Harpe
1
Cor anglais et Harpe (duo)
1
Flûte à bec Alto, Piano
1
Clarinette, Harpe (duo)
1
Saxophone et Guitare
1
Clarinette, Guitare (duo)
1
Hautbois
1
Flûte, Hautbois, Piano (trio)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Alto, Basse continue
1
Cor anglais, Guitare (duo)
1
Flûte, Saxophone (duo)
1
Saxophone Tenor
1
Quintette de Flûte : 5 flûtes
1
Flûte à bec Soprano, Piano
1
Ensemble De Flûte à bec
1
+ 64 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
37
2 Trompettes (duo)
13
Euphonium, Piano (duo)
13
2 Cors (duo)
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Trombone et Piano
10
Trompette, Piano
8
Cor anglais, Piano
7
Cor et Piano
5
Trompette
4
2 Trombones (duo)
4
Quatuor de cuivres: 4 trombones
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Trio de Cuivres
2
Trompette, Trombone (duo)
2
2 Tubas (duo)
2
Cor anglais et Harpe (duo)
1
Euphonium
1
3 Tubas (trio)
1
3 Trompettes (trio)
1
Quatuor de cuivres: 4 trompettes
1
3 Cors (trio)
1
Cor anglais, Guitare (duo)
1
Trombone
1
Ensemble de Trombones
1
Trombone (partie séparée)
1
Cor
1
3 Trombones (trio)
1
Tuba et Piano
1
4 Tubas
1
Trompette, Cor (duo)
1
+ 26 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
99
Violon
77
2 Violons (duo)
57
Trio à Cordes: 2 violons, violoncelle
53
Violon et Piano
37
2 Violoncelles (duo)
26
2 Altos (duo)
21
Alto, Piano
19
Violoncelle, Piano
19
Violon, Alto (duo)
13
Violon, Violoncelle (duo)
13
Violoncelle
12
Trio à Cordes: violon, alto, violoncelle
10
2 Violons et Basse continue
9
Violon, Basson (duo)
5
Alto, Violoncelle (duo)
4
Violon, Basse continue
4
Alto (partie séparée)
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
Harpe
3
Harpe, Flûte (duo)
2
Trio à Cordes: 3 violoncelles
2
Trio à Cordes: 2 violons, alto
2
Violoncelle, Basse continue
2
Harpe, Violon (duo)
1
Alto, Guitare (duo)
1
Trio à cordes: 3 altos
1
Trio à cordes: 3 violins
1
Violon (partie séparée)
1
Harpe, Violoncelle (duo)
1
Alto et Harpe
1
Piano Trio: Violon, Alto, Piano
1
2 Contrebasses (duo)
1
4 Violoncelles
1
Alto seul
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violon, Guitare (duo)
1
+ 32 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
9
Orchestre d'harmonie
6
Ensemble Jazz
3
Orchestre
2
Orchestre de chambre
1
Cloches
1
+ 1 instrumentations
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--INSTRUMENTS--
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2 Sonata
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Ensemble de Flûtes
Partitions à imprimer
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1
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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Ensemble de Flûtes
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Beethoven: Sonata Op. 49 No. 2 for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
#
Classique
#
Ludwig van Beethoven
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James M
#
Beethoven: Sonata Op. 49 No. 2
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jmsgu3
#
SheetMusicPlus
Flute choir: 1piccolo, 4 concert flutes, 1 alto, 1 bass, 1 contrabass (optional) and 1 cello (optional). - Intermediate - Digital Download Composed b...
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Flute choir: 1piccolo, 4 concert flutes, 1 alto, 1 bass, 1 contrabass (optional) and 1 cello (optional). - Intermediate - Digital Download Composed by Ludwig van Beethoven (1770-1827). Arranged by James M. Guthrie, ASCAP. Baroque Period, Repertoire, European, Wedding, Recital. Score, Set of Parts. 103 pages. Published by jmsgu3
Beethoven Sonata Op. 49 No. 2 arranged for flute choir. Duration: ca: 10:15 Score: 60 pages, 242 measures. In two movements. A great recital piece to demonstrate nuances of the flute choir.
$49.95
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
#
Gabrieli
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James M
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Trio Sonata Op. 2 No. 8 4th Movement - for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
#
Classique
#
Jean-Baptiste Loeillet
#
Katrina Agioritis
#
Trio Sonata Op. 2 No. 8 4th Mo
#
Musika Publishing Australia
#
SheetMusicPlus
By Jean-Baptiste Loeillet (1680-1730). Arranged by Katrina Agioritis. For Flute Choir. Instructional, Baroque Period. Intermediate. Set of Parts, Score. Musika ...
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By Jean-Baptiste Loeillet (1680-1730). Arranged by Katrina Agioritis. For Flute Choir. Instructional, Baroque Period. Intermediate. Set of Parts, Score. Musika Publishing Australia #108629. Published by Musika Publishing Australia
$12.99
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