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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
Die Baroque
Non classifié
304
Piano & claviers
Piano seul
86
Piano, Voix
84
Orgue
17
Orgue, Trompette (duo)
10
Piano, Voix et Guitare
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano Facile
3
Piano Trio: piano, violon, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
2 Pianos, 4 mains
1
+ 5 instrumentations
Retracter
Guitares
Guitare notes et tablatures
29
Guitare
20
2 Guitares (duo)
2
Ligne De Mélodie, (Paroles) et Accords
2
3 Guitares (trio)
1
4 Guitares (Quatuor)
1
Mandoline, Guitare (duo)
1
Mandoline
1
Ukulele
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
20
Chorale 3 parties
11
Chorale TTBB
7
Chorale SSAA
5
Chorale 2 parties
3
Voix haute
1
Voix moyenne, Piano
1
+ 2 instrumentations
Retracter
Vents
3 Saxophones (trio)
54
Flûte, Hautbois, Clarinette, Basson
33
3 Clarinettes (trio)
30
Quatuor de Saxophones: 4 saxophones
30
2 Flûtes traversières (duo)
27
Quatuor de Clarinettes: 4 clarinettes
27
Flûte, Violon et Violoncelle
25
Flûte, Hautbois, Basson
24
2 Saxophones (duo)
21
Flûte traversière et Piano
20
Flûte, Hautbois, Clarinette (trio)
20
Ensemble De Flûte à bec
18
Flûte, Clarinette et Basson
18
Hautbois, Piano (duo)
15
Flûte et Guitare
14
2 Flûte à bec (duo)
14
2 Clarinettes, Basson
13
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
13
Trio de Flûtes: 3 flûtes
13
Clarinette et Piano
11
Quatuor de Flûtes : 4 flûtes
11
2 Clarinettes (duo)
11
2 Hautbois (duo)
10
Hautbois, Clarinette, Basson (trio d'anches)
9
Flûte traversière
9
Saxophone Alto et Piano
9
Saxophone Soprano et Piano
8
Flûte, Clarinette (duo)
7
Hautbois, Clarinette (duo)
6
Clarinette
6
Ensemble de Flûtes
6
Saxophone Tenor et Piano
6
Flûte à Bec
5
Quintette de Saxophone: 5 saxophones
5
Saxophone Baryton, Piano
5
Saxophone, Violon (duo)
4
Hautbois, violon (duo)
4
Flûte, Hautbois (duo)
4
Flûte, Violon
4
Clarinette, Violon (duo)
4
Flûte, Trompette (duo)
4
Saxophone, Clarinette (duo)
4
Hautbois, Trompette (duo)
4
Saxophone Alto
4
Quatuor de Flûtes à bec
4
Quintette de Clarinettes: 5 clarinettes
3
2 Hautbois et Basson
3
Flûte à bec Soprano, Piano
3
Flûte, Violoncelle
3
Ensemble de Clarinettes
3
Cor anglais, Piano
3
Hautbois, Harpe
3
Clarinette Basse, Piano
2
Clarinette, Harpe (duo)
2
Hautbois, Violoncelle
2
Quintette de Flûte : 5 flûtes
2
Saxophone (partie séparée)
2
Saxophone Tenor
2
Flûte à bec Soprano
2
3 Flûtes à bec (trio)
2
Flûte, Alto (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette, Basson (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Flûte, Trombone (duo)
1
Ensemble de saxophones
1
Saxophone, Basson (duo)
1
Hautbois
1
Hautbois (partie séparée)
1
Hautbois, Basson (duo)
1
Clarinette, Trombone (duo)
1
+ 66 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
42
Ensemble de Trompettes
37
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Cor et Piano
11
Trompette, Piano
11
2 Cors (duo)
10
2 Trompettes (duo)
8
2 Trombones (duo)
8
Trombone et Piano
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Trompette
6
Trompette, Saxophone (duo)
5
Trombone, violoncelle (duo)
4
Trompette, violon (duo)
4
Trombone
4
2 Tubas (duo)
4
Quatuor de cuivres: 4 trombones
4
Tuba
3
Quatuor de cuivres: 4 trompettes
3
Cor anglais, Piano
3
Euphonium, Piano (duo)
3
2 Euphoniums (duo)
2
3 Trompettes (trio)
2
Trompette, Trombone (duo)
2
Quatuor de Cuivres
2
Ensemble de Cors
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Tuba et Piano
1
Cor
1
4 Tubas
1
Cor et Harpe
1
Trompette, Harpe
1
Trombone, Orgue
1
Quatuor de cuivres: 4 cors
1
Euphonium, Tuba (duo)
1
Trombone, Violon (duo)
1
Trompette, Basson (duo)
1
+ 32 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
52
Violon et Piano
21
Violon, Violoncelle (duo)
20
Trio à Cordes: violon, alto, violoncelle
20
Violoncelle, Piano
17
Alto, Piano
17
Violon
14
2 Violons (duo)
11
2 Violoncelles (duo)
10
Violon, Alto (duo)
8
Harpe
7
2 Altos (duo)
6
Trio à Cordes: 3 violoncelles
5
2 Harpes (duo)
5
Violoncelle
5
Trio à Cordes: 2 violons, violoncelle
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Contrebasse, Piano (duo)
3
Harpe, Flûte (duo)
3
Alto, Violoncelle (duo)
3
4 Violoncelles
3
2 Contrebasses (duo)
2
Harpe, Violon (duo)
2
Alto seul
2
Harpe, Violoncelle (duo)
1
Violoncelle, Contrebasse (duo)
1
Violoncelle , Guitare (duo)
1
Alto et Harpe
1
Quatuor à cordes: 4 violons
1
Alto (partie séparée)
1
Alto et Basson
1
Violon, Basson (duo)
1
Trio à cordes: 3 altos
1
Violon, Orgue
1
Quatuor à cordes : 4 altos
1
+ 30 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
15
Orchestre à Cordes
15
Ensemble de cuivres
8
Orchestre d'harmonie
8
Cloches
4
Orchestre
1
Ensemble Jazz
1
Ensemble de Percussions
1
Xylophone
1
+ 4 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Die Baroque
intermédiaire
Ensemble de Flûtes
Partitions à imprimer
6 partitions trouvées
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1
Bach: Wachet auf for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Flute Cho
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.549859 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.549859 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Wedding. 24 pages. Jmsgu3 #3556989. Published by jmsgu3 (A0.549859). Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 10 pages, Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. Voyager
$39.95
Sheep May Safely Graze " The Birthday Cantata " by Bach for flute choir / ensemble
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Musique Sacrée
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Johann Sebastion Bach , J S Ba
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Sheep May Safely Graze "
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as do Ray meflute studio production
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SheetMusicPlus
Large Ensemble Alto Flute,Bass Flute,Choir,Orff Instrument,Piccolo,Soprano Flute - Level 3 - SKU: A0.874253 Composed by Johann Sebastion Bach , J S Bach...
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Large Ensemble Alto Flute,Bass Flute,Choir,Orff Instrument,Piccolo,Soprano Flute - Level 3 - SKU: A0.874253 Composed by Johann Sebastion Bach , J S Bach. Arranged by a do Ray me flute studio production , Ray-Michael Kauffman. Baroque,Easter,Holiday,Praise & Worship,Sacred. Score and parts. 36 pages. As do Ray meflute studio production #4573517. Published by as do Ray meflute studio production (A0.874253). Https://www.youtube.com/watch?v=05dsgxhs9qM&feature=youtu.beSheep May Safely Graze Sheep may safely graze (German: Schafe können sicher weiden) is a soprano aria by Johann Sebastian Bach setting words by Salomon Franck. The piece was written in 1713 and is part of the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208. The cantata's title translates The lively hunt is all my heart's desire, and it is also known as the Hunting Cantata. Like the same composer´s Jesu, Joy of Man's Desiring, it is frequently played at weddings.[1] However, it was originally written for a birthday celebration, that of Christian, Duke of SaxeWeissenfels. Bach was based at the nearby court of Weimar, and musicians from both courts appear to have joined together in the first performance in Weißenfels. Bach is known to have used the music again for other celebrations, but it remained unpublished until after his death. Perfect for church, religious holidays, weddings, Easter, Birthdays , concerts, program performances, themed performances, recital, you name it.. this arrangement is a must.Score for a larger nsemble , Piccolo, G soprano flute or 1st c flute , 2nd flute, 3rd flute, 4th flute, 5th flute, 6 th flute , Alto flute in g , Bass flute and contrabass flute . Definiately a piece that will get used many times for many occasionals.also, check out my other arrangements! Real flute choir / ensemble arrangements for real flutes, and real parts ( no piano funny business ) for real performances. **ALSO check out my other arrangemnts - https://www.sheetmusicplus.com/publishers/a-do-ray-me-flute-studio-production/7545
$15.99
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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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
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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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
Siciliano BWV 1031
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Myrick Crampton
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Siciliano BWV 1031
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MDC Music LLC
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1456677 Composed by Johann Sebastian Bach. Arranged by Myrick Crampton. Baroque,...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1456677 Composed by Johann Sebastian Bach. Arranged by Myrick Crampton. Baroque,Classical. 9 pages. MDC Music LLC #1035744. Published by MDC Music LLC (A0.1456677). This graceful piece, characterized by its flowing melodies and gentle rhythms, captures the essence of the Baroque era, offering a soothing and contemplative musical experience.Arranged for (F1-2, AF 2-3, BF 4, Contra 5)Time: 2’ 45”.
$12.99
Air from Suite in D by Bach for flute choir / flute ensemble
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Johann Sebastion Bach , J S Ba
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Ray-Michael Kauffman
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Air from Suite in D by Bach fo
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as do Ray meflute studio production
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.874245 Composed by Johann Sebastion Bach , J S Bach. Arranged by Ray-Michael Kauffman. Baroque,Concert,Sacre...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.874245 Composed by Johann Sebastion Bach , J S Bach. Arranged by Ray-Michael Kauffman. Baroque,Concert,Sacred,Standards,Wedding. 17 pages. As do Ray meflute studio production #3591641. Published by as do Ray meflute studio production (A0.874245). https://www.youtube.com/watch?v=EKPo0RPP-E4&feature=youtu.beAir from Suite in D by J. S. Bacharranged for flute choir / ensemble by me Ray-Michael Kauffman. I know there is a lot of versions of this , but unhappy with most of them and lack of over all music musicality I decided to create one that was interesting to play and hear a swell as make good musical sense. After much debate, I decided changing the key to E flat would be most appropriate for either small group of players ( minimum 7) or larger groups . In the piece there is even additional divisions to help create more texture and colors in parts 3 & 4, yet remaining simple and true but sounding beautiful , what flutes should sound like.Great for studying flutist, to high school and college students. Flute choir groups, etcwould be a great addition for your ensemble, whether playing at a recital, concert, church and other spiritual events, graduation, weddings, etc. This would also be a great tool or warm up for balance and shaping sound, volume, color, blending, phrasing and other important technique builders for your group.You'll love this arrangement ,and so will the flutists and your audience!
$13.99
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