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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
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VIOLONCELLE
XYLOPHONE
Ayo
Non classifié
1 211
Piano & claviers
Piano seul
332
Piano, Voix et Guitare
168
Piano, Voix
111
Instruments en Do
102
Piano Facile
92
1 Piano, 4 mains
90
Orgue
32
Accordéon
13
Piano grosses notes
3
2 Pianos, 4 mains
3
Clavier
2
Accordéon, Voix
1
1 Piano, 6 mains
1
Accompagnement Piano
1
Orgue, Piano (duo)
1
Ligne De Mélodie, Piano
1
Piano Trio: piano, violon, violoncelle
1
+ 12 instrumentations
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Guitares
Guitare notes et tablatures
50
Guitare
48
Ligne De Mélodie, (Paroles) et Accords
40
Ukulele
26
Paroles et Accords
15
Banjo
8
Basse electrique
7
Mandoline
5
Dulcimer
3
4 Guitares (Quatuor)
3
Ensemble de guitares
2
2 Dulcimers (duo)
1
Ukulele Baryton
1
Guitare, Violon, Violoncelle (trio)
1
2 Guitares (duo)
1
+ 10 instrumentations
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Voix
Chorale SATB
135
Chorale 3 parties
61
Chorale Unison
59
Chorale 2 parties
37
Chorale TTBB
12
Chorale
12
Chorale SSAA
8
Pack Instrumental pour Chorale
7
Voix seule
4
Voix duo
4
Voix Soprano
3
Voix Soprano, Piano
2
Voix, Guitare
2
Voix duo, Piano
1
Voix haute
1
Chorale SSAATTBB
1
Voix basse, Piano
1
Voix Alto, Piano
1
+ 13 instrumentations
Retracter
Vents
Flûte traversière
18
Quatuor de Saxophones: 4 saxophones
16
Saxophone (partie séparée)
15
Clarinette
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
Saxophone Alto
11
Flûte traversière et Piano
10
Quatuor de Clarinettes: 4 clarinettes
10
Saxophone Tenor
10
Clarinette (partie séparée)
9
2 Flûtes traversières (duo)
8
Hautbois
7
Saxophone Alto et Piano
7
Hautbois (partie séparée)
7
Saxophone
6
Flûte, Hautbois, Clarinette, Basson
6
2 Saxophones (duo)
5
2 Clarinettes (duo)
5
Harmonica
5
3 Clarinettes (trio)
4
Flûte à Bec
4
Quatuor de Flûtes : 4 flûtes
3
Quintette de Saxophone: 5 saxophones
3
Ensemble de Flûtes
3
Saxophone Tenor et Piano
3
Flûte, Violon et Violoncelle
3
Clarinette et Piano
3
Ensemble de Clarinettes
3
Saxophone Baryton, Piano
3
Hautbois, Piano (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Clarinette, Harpe (duo)
2
Flûte, Clarinette (duo)
2
Flûte à bec Soprano, Piano
2
Cor Anglais
2
Piccolo
2
Flute (partie séparée)
2
Piccolo, Piano
2
Saxophone Soprano et Piano
2
Flûte à bec Tenor
2
Flûte à Bec, Piano
2
Flûte, Clarinette, Piano (trio)
1
2 Hautbois (duo)
1
Clarinette, Basson (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
2 Clarinettes, Basson
1
Flûte à bec Alto, Piano
1
Hautbois, Violoncelle
1
Clarinette Basse, Piano
1
Clarinette, Guitare (duo)
1
Hautbois, Flûte
1
Saxophone Baryton
1
Flûte, Basson et Piano
1
Flûte, Violoncelle
1
Flûte et Guitare
1
Clarinette, Violoncelle (duo)
1
3 Saxophones (trio)
1
+ 52 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
19
Trombone et Piano
13
Trompette
12
Trombone
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Cor
7
Trombone (partie séparée)
6
Trompette (partie séparée)
6
Trompette, Piano
5
Cor (partie séparée)
4
Tuba (partie séparée)
3
Tuba
3
Cor et Piano
2
Trompette, Trombone (duo)
2
Trompette, Harpe
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Cor et Harpe
2
Cor Anglais
2
Euphonium, Piano (duo)
2
Trombone, Tuba (duo)
2
Tuba et Orgue
1
Trombone basse
1
Ensemble de Trombones
1
Tuba et Piano
1
Euphonium
1
Trombone basse et Piano
1
Quatuor de cuivres: 4 cors
1
+ 22 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
52
Harpe
30
Violon
25
Violoncelle
22
Violon et Piano
17
Violoncelle, Piano
10
Alto, Piano
10
Alto seul
10
Violon, Violoncelle (duo)
9
2 Violons (duo)
6
Violon (partie séparée)
5
2 Violoncelles (duo)
4
Trio à Cordes: violon, alto, violoncelle
4
Alto, Violoncelle (duo)
3
Harpe, Flûte (duo)
3
Contrebasse (partie séparée)
3
2 Altos (duo)
3
2 Harpes (duo)
3
Violon, Guitare (duo)
2
Alto et Harpe
2
Contrebasse, Piano (duo)
2
Harpe, Violoncelle (duo)
2
Harpe, Violon (duo)
2
Alto (partie séparée)
2
Violon, Alto (duo)
2
Violoncelle (partie séparée)
2
Violon, Orgue
1
Violoncelle, Contrebasse (duo)
1
Contre Basse
1
Trio à Cordes: 2 violons, violoncelle
1
Harpe, Violon, Violoncelle
1
Harpe, Trombone (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
+ 28 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
187
Ensemble Jazz
86
Orchestre
27
Orchestre à Cordes
23
Percussion (partie séparée)
9
Fanfare
8
Orchestre de chambre
8
Ensemble de cuivres
7
Percussion
5
Cloches
3
Marimba
3
Jazz combo
3
Ensemble de Percussions
3
Batterie
3
Quintette de Cuivres: autres combinaisons
1
+ 10 instrumentations
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Autres
Formation musicale - Solfège
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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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MANDOLINE
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Ensemble de Flûtes
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Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Ensemble de Flûtes
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gab…
(+)
Woodwind Ensemble Flute - Level 3 - Digital Download 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
44.21 €
#
Ensemble de Flûtes
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Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Ensemble de Flûtes
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gab…
(+)
Woodwind Ensemble Flute - Level 3 - Digital Download 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
44.21 €
#
Ensemble de Flûtes
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
#
jmsgu3
#
SheetMusicPlus
Holberg Suite Op 40
Ensemble de Flûtes
Flute Choir - piccolo, flutes, alto, bass, opt contras - Intermediate- Advanced - Dig…
(+)
Flute Choir - piccolo, flutes, alto, bass, opt contras - Intermediate- Advanced - Digital Download Composed by Edvard Grieg (1843-1907). Arranged by Robert Rainford. Score and parts. 94 pages. Forton Music - Digital #FM033. Published by Forton Music - Digital
ISBN 9790708085324.<br> <br> Flute Choir/Ensemble - Piccolo, 4 flutes (flute 4 replacing alto flute 1), 3 alto flutes, bass flute (replacing alto flute 3), optional contr'alto flute, optional contra-bass flute. This is a complete transcription of Grieg's famour Holberg Suite. The layout is designed to be as flexible as possible. It is possible to perform this work with a lineup of piccolo, 4 flutes and two alto flutes, for groups who do not have access to the larger instruments. This piece is in 5 movements: Praelude, Sarabande, Gavotte and Musette, Air and Rigaudon. The praelude requires long sections of fast tonguing from all players, and flute one in general needs a player of about grade 8 standard, but the lower parts are much more accessible.ISBN 9790708085324.<br> <br> Flute Choir/Ensemble - Piccolo, 4 flutes (flute 4 replacing alto flute 1), 3 alto flutes, bass flute (replacing alto flute 3), optional contr'alto flute, optional contra-bass flute. This is a complete transcription of Grieg's famour Holberg Suite. The layout is designed to be as flexible as possible. It is possible to perform this work with a lineup of piccolo, 4 flutes and two alto flutes, for groups who do not have access to the larger instruments. This piece is in 5 movements: Praelude, Sarabande, Gavotte and Musette, Air and Rigaudon. The praelude requires long sections of fast tonguing from all players, and flute one in general needs a player of about grade 8 standard, but the lower parts are much more accessible.
$22.95
21.16 €
#
Ensemble de Flûtes
#
Edvard Grieg (1843-1907)
#
Robert Rainford
#
Holberg Suite Op 40
#
SheetMusicPlus
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