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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
instrumental works
Non classifié
518
Piano & claviers
Piano seul
107
Instruments en Do
71
Orgue
27
1 Piano, 4 mains
8
Piano, Voix et Guitare
7
Piano, Voix
6
Piano Trio: piano, violon, violoncelle
5
Piano Quatuor: piano, 2 violons, violoncelle
3
Orgue, Trompette (duo)
3
Piano Quatuor: piano, violon, alto, violoncelle
2
2 Pianos, 4 mains
1
Clavecin
1
Accompagnement Piano
1
+ 8 instrumentations
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Guitares
Guitare
30
2 Guitares (duo)
20
Guitare notes et tablatures
14
Ligne De Mélodie, (Paroles) et Accords
6
Dulcimer
2
3 Guitares (trio)
2
4 Guitares (Quatuor)
2
Ukulele
2
2 Mandolines (duo)
1
Piano, Guitare (duo)
1
+ 5 instrumentations
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Voix
Chorale SATB
13
Chorale 3 parties
4
Chorale SSAA
3
Chorale TTBB
3
Chorale Unison
2
Soli, choeur mixte et accompagnement
1
Voix duo
1
Voix duo, Piano
1
Chorale 2 parties
1
+ 4 instrumentations
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Vents
Saxophone Alto et Piano
130
Saxophone Tenor et Piano
86
Hautbois, Piano (duo)
78
2 Saxophones (duo)
36
Flûte traversière et Piano
32
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
21
Quatuor de Clarinettes: 4 clarinettes
19
Quatuor de Flûtes : 4 flûtes
17
Flûte et Guitare
16
Clarinette et Piano
14
Flûte, Hautbois, Clarinette, Basson
14
Clarinette, Guitare (duo)
13
Ensemble de Clarinettes
12
2 Flûtes traversières (duo)
12
Quatuor de Saxophones: 4 saxophones
11
2 Clarinettes (duo)
10
Flûte traversière
10
Flûte, Trombone (duo)
8
Hautbois, Basson (duo)
7
Saxophone Soprano et Piano
7
Flûte, Violon, Piano
7
Flûte, Clarinette (duo)
6
Flûte, Violon
6
Saxophone Alto
6
Quintette de Clarinettes: 5 clarinettes
6
Ensemble de Flûtes
6
Saxophone, Clarinette (duo)
5
Flûte, Alto et Piano
5
Clarinette
5
Flûte, Saxophone (duo)
5
Flûte, Basson et Piano
5
Hautbois, Flûte
4
Trio de Flûtes: 3 flûtes
4
3 Clarinettes (trio)
4
Saxophone (partie séparée)
4
Clarinette, Basson (duo)
4
Flûte à bec, Guitare (duo)
4
Flûte, Trompette (duo)
4
Saxophone Tenor
4
2 Saxophones, Piano
3
Flûte, Alto (duo)
3
Flûte, Violoncelle
3
Hautbois, Clarinette (duo)
3
3 Saxophones (trio)
3
Clarinette, Violoncelle (duo)
3
Piccolo, Piano
3
Flute (partie séparée)
3
Quintette de Saxophone: 5 saxophones
3
Piccolo
2
Saxophone et Guitare
2
Saxophone, Violon (duo)
2
Clarinette, Violon (duo)
2
Clarinette, Basson, Piano (trio)
2
Clarinette, Contrebasse (duo)
2
Flûte, Violoncelle, Piano (trio)
2
Clarinette, Trompette (duo)
2
Saxophone Baryton, Piano
2
Clarinette et Alto
2
Clarinette, Harpe (duo)
2
Cor anglais, Guitare (duo)
1
2 Flûte à bec (duo)
1
Flûte traversière, Basse continue
1
Flûte traversière, Orgue (duo)
1
Flûte, Clarinette et Basson
1
Hautbois, violon (duo)
1
Flûte, Tuba (duo)
1
Hautbois, Violoncelle
1
Quatuor de Flûtes à bec
1
Flûte, Hautbois (duo)
1
3 Flûtes à bec (trio)
1
Saxophone
1
Saxophone et Harpe
1
Cor anglais, Piano
1
Hautbois (partie séparée)
1
Hautbois, Guitare (duo)
1
Clarinette Basse
1
Cor Anglais
1
Flûte à bec Alto, Piano
1
Ensemble de saxophones
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte à bec Soprano, Piano
1
Flûte à bec Soprano
1
2 Flûtes traversières, Piano
1
2 Clarinettes, Piano
1
+ 79 instrumentations
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Cuivres
Trombone et Piano
38
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
2 Cors (duo)
18
Trompette, Piano
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Cor et Piano
7
Trompette
7
Trompette (partie séparée)
6
Trombone (partie séparée)
6
Trompette, Trombone (duo)
5
Ensemble de Trompettes
5
Euphonium, Piano (duo)
4
2 Tubas (duo)
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trombone, Tuba (duo)
3
Cor, Violoncelle (duo)
3
Quatuor de cuivres: 4 cors
2
Cor
2
Trompette, Saxophone (duo)
2
Euphonium, Tuba (duo)
2
2 Trombones (duo)
2
Ensemble de Trombones
2
2 Trompettes (duo)
2
Cor anglais, Guitare (duo)
1
4 Tubas
1
Quatuor de cuivres: 4 trombones
1
Trompette, Harpe
1
Trio de Cuivres
1
Bass Clef Instruments
1
Trompette, violon (duo)
1
Cor anglais, Piano
1
Trombone
1
Cor et Harpe
1
Cor Anglais
1
Trompette, Violoncelle (duo)
1
Ensemble de Cors
1
2 Euphoniums (duo)
1
3 Trompettes (trio)
1
Tuba et Piano
1
+ 34 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
47
Alto, Piano
39
Violon et Piano
31
Violon, Violoncelle (duo)
25
Violoncelle, Piano
25
Violon, Alto (duo)
18
Alto seul
13
Trio à Cordes: violon, alto, violoncelle
13
Violon
13
Alto, Guitare (duo)
11
Violon, Guitare (duo)
11
Harpe
10
2 Violons (duo)
9
Piano Trio: Violon, Alto, Piano
6
Violoncelle, Contrebasse (duo)
4
Violoncelle , Guitare (duo)
4
2 Violoncelles (duo)
4
Alto (partie séparée)
4
4 Violoncelles
3
Violoncelle
3
Flûte, Contrebasse (duo)
3
Harpe, Violon, Violoncelle
2
Contre Basse
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Trio à Cordes: 3 violoncelles
1
2 Contrebasses (duo)
1
Quatuor à cordes: 4 violons
1
Harpe et mandoline
1
Contrebasse, Piano (duo)
1
Trio à cordes: 3 violins
1
Alto, Violoncelle (duo)
1
2 Altos (duo)
1
Alto et Harpe
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, violoncelle
1
+ 31 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
39
Ensemble Jazz
23
Orchestre à Cordes
22
Jazz combo
17
Orchestre de chambre
11
Ensemble de cuivres
8
Orchestre
4
3 Marimbas
2
Fanfare
2
Ensemble de Percussions
1
Batterie
1
Cloches
1
Instrumentation Flexible
1
+ 8 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CORNET
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Bach: Jesu, Joy of Man's Desiring for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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J
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James M
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Bach: Jesu, Joy of Man's Desir
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.548649 Composed by J. S. Bach, 1685 - 1750. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Wedding. 3...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.548649 Composed by J. S. Bach, 1685 - 1750. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Wedding. 34 pages. Jmsgu3 #3407871. Published by jmsgu3 (A0.548649). Jesu, Joy of Man's Desiring from Bach's Cantata 147, arranged for flute choir: piccolo, 3 flutes, alto flute, bass flute, double contrabass flute (optional) and cello (optional). Score: 19 pg. Parts: 2 pg. Duration with optional repeat: 7:36 Jesu, Joy of Man’s Desiring Bach composed a cantata called Herz und Mund und Tat und Leben. Though it is the 32nd cantata, it is listed as BWV 147. Jesu, Joy of Man’s Desiring is the 10th movement of the cantata. It was customary to use previous melodies as a basis for a new work - a practice called Cantus prius factus. So, the chorale melody for this piece is a historic tune called Werde munter, mein Gemüthe. Jesu, Joy of Man’s Desiring is customarily performed at weddings, and during major church seasons such as Easter and Christmas. 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, in addition to his 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.
$49.95
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
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
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
Return To The Heart
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Ensemble de Flûtes
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INTERMÉDIAIRE
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New Age
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David Lanz
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Lisa Ochoco
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Return To The Heart
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Lisa L Ochoco
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.559763 By David Lanz. By David Lanz. Arranged by Lisa Ochoco. New Age. 18 pages....
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.559763 By David Lanz. By David Lanz. Arranged by Lisa Ochoco. New Age. 18 pages. Lisa L Ochoco #4633785. Published by Lisa L Ochoco (A0.559763). David Lanz is one of my favorite New Age piano composers. As a pianist I've played most of his works, and have always wanted to arrange them as instrumental choir pieces. And here it is; my first instrumental choir piece of one of my favorite David Lanz compositions, Return to the Heart.
$15.00
Mussorgsky: Night on Bald Mountain for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Classique
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Modest Petrovich Mussorgsky
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James M
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Mussorgsky: Night on Bald Moun
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.549955 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. Romantic Period,Standards. 227...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.549955 Composed by Modest Petrovich Mussorgsky. Arranged by James M. Guthrie. Romantic Period,Standards. 227 pages. Jmsgu3 #4337561. Published by jmsgu3 (A0.549955). Score: 140 pages. Duration ca. 11:00. Instrumentation: 1 piccolo, 3 concert flutes, 2 alto flutes, 1 bass flute, 1 cello (optional). Piccolo part: 7 pages, Flute 1 part: 14 pages, Flute 2 part: 13 pages, Flute 3 part: 10 pages, Alto Flute 1 part: 10 pages, Alto Flute 2 part: 11 pages, Bass Flute part: 11 pages, Cello part: 11 pages.Mussorgsky's Night on Bald Mountain is significant for several reasons. Composed in 1867, it is a tone poem inspired by the Russian legend of nocturnal revels on St. John's Night, involving a witches' Sabbath on Bald Mountain near Kiev. The piece is known for its high drama, dark textures, and bold harmonies, which Mussorgsky's colleagues considered excitingly expressive and raw. The work was unpublished and unrevised at the time of the composer's death, and his colleagues, including Rimsky-Korsakov, later revised it. The composition remains a powerful representation of Russian folk tradition. It is associated with the pagan festivities of the midsummer Slavic holiday, making it a significant piece in the history of Russian classical music.The legend of the nocturnal revels on St. John's Night in June on a hill called Lysa Hora near Kiev is a prominent Slavic tale that inspired Modest Mussorgsky's Night on Bald Mountain. The legend tells of a demon, Chernobog, who leads the revels until a far-off church bell sounds disperse the Spirits of Darkness. This tale is associated with the pagan festivities of the midsummer Slavic holiday and is a significant part of Russian folklore and culture. Lysa Hora, meaning Bald Mountain or Barren Mountain, is a large wooded hill in the Ukrainian capital Kyiv, near the confluence of the Dnipro and Lybid' rivers, and is the traditional site of the witch gatherings in Slavic folklore. The legend's themes of darkness, supernatural gatherings, and the triumph of light have made it a compelling source of inspiration for various artistic works, including Mussorgsky's musical composition.
$58.95
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