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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
Can Sonata
Non classifié
593
Piano & claviers
Piano seul
1 095
Piano Facile
35
Orgue
18
Instruments en Do
5
Piano, Voix
5
2 Pianos, 4 mains
3
Clavecin
3
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
2
1 Piano, 4 mains
2
Accordéon
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano Trio: piano, violon, violoncelle
2
Piano, Voix et Guitare
1
Accompagnement Piano
1
+ 10 instrumentations
Retracter
Guitares
Guitare
57
Guitare notes et tablatures
29
Piano, Guitare (duo)
7
2 Guitares (duo)
6
Ukulele
3
3 Guitares (trio)
1
Ligne De Mélodie, (Paroles) et Accords
1
Orchestre à Plectres
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
4
Voix Baryton, Piano
3
Voix duo, Piano
1
Voix Mezzo-Soprano, Piano
1
Chorale 2 parties
1
Vents
Flûte traversière
370
Flûte à Bec
94
Flûte traversière et Piano
64
3 Saxophones (trio)
56
Clarinette
52
3 Clarinettes (trio)
47
Flûte, Hautbois, Clarinette (trio)
46
Clarinette et Piano
41
Flûte, Hautbois, Basson
41
Flûte, Clarinette et Basson
38
Saxophone Alto et Piano
36
Flûte, Violon et Violoncelle
32
Hautbois, Piano (duo)
31
2 Clarinettes (duo)
30
2 Clarinettes, Basson
25
Flûte, Violoncelle
24
Hautbois, Basson (duo)
23
Trio de Flûtes: 3 flûtes
23
2 Flûtes traversières (duo)
21
Clarinette et Alto
20
Flûte, Clarinette (duo)
18
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
18
2 Saxophones (duo)
18
Clarinette, Violoncelle (duo)
17
3 Flûtes à bec (trio)
17
Clarinette, Violon (duo)
17
Saxophone Tenor et Piano
17
Hautbois, Clarinette (duo)
16
Flûte, Hautbois, Clarinette, Basson
16
Quatuor de Saxophones: 4 saxophones
15
Saxophone Soprano et Piano
15
Clarinette, Basson (duo)
14
Flûte et Guitare
13
Flûte, Alto (duo)
12
Flûte à bec Soprano
10
Saxophone
10
Quintette de Clarinette: Clarinette, Quatuor à Cordes
9
Saxophone Baryton, Piano
9
Ensemble de Clarinettes
9
Hautbois, Clarinette, Basson (trio d'anches)
9
2 Flûte à bec (duo)
8
Quatuor de Clarinettes: 4 clarinettes
8
Flûte à bec Soprano, Basse continue
7
Clarinette Basse, Piano
7
Cor anglais, Piano
7
Saxophone Tenor
5
Saxophone Alto
5
Hautbois
4
Flûte, Alto et Violoncelle
4
2 Hautbois (duo)
4
Flûte traversière, Basse continue
4
Clarinette (partie séparée)
3
Saxophone, Clarinette (duo)
3
Quintette de Saxophone: 5 saxophones
3
Quintette de Clarinettes: 5 clarinettes
3
Flûte à bec Soprano, Piano
3
2 Cors Anglais Et Pianoforte
2
Quatuor de Flûtes : 4 flûtes
2
Clarinette, Trompette (duo)
2
Clarinette, Orchestre
2
Ensemble de Flûtes
2
Piccolo, Piano
2
Flute, harpe et violon
2
2 Flûtes traversières, Piano
2
Flûte à bec Alto, Piano
2
Ensemble de saxophones
1
Hautbois, Flûte
1
Flûte, Basson et Piano
1
Harmonica
1
Flûte, Saxophone (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
5 Flûtes à bec
1
2 Hautbois et Basson
1
Clarinette, Guitare (duo)
1
Flûte, Trompette (duo)
1
Quatuor de Flûtes à bec
1
Quintette de Flûte : 5 flûtes
1
Flûte, Violon
1
Saxophone et Orgue
1
Saxophone (partie séparée)
1
Flûte, alto et harpe
1
Flûte, Violon, Piano
1
Hautbois (partie séparée)
1
Ensemble De Flûte à bec
1
+ 79 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
24
Trombone et Piano
23
Trompette, Piano
21
Trompette
17
Cor et Piano
15
2 Trombones (duo)
11
Euphonium, Piano (duo)
11
2 Trompettes (duo)
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
2 Cors (duo)
7
Tuba et Piano
7
Quatuor de Cuivres
7
Trombone
7
Cor anglais, Piano
7
Trompette (partie séparée)
6
Cor
6
Quatuor de cuivres: 4 trombones
5
Trompette, Trombone (duo)
3
2 Tubas (duo)
3
Ensemble de Trombones
3
2 Euphoniums (duo)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
4 Tubas
3
Ensemble de Cors
3
2 Cors Anglais Et Pianoforte
2
Trio de Cuivres
2
Tuba
2
Trompette, Saxophone (duo)
2
Cor (partie séparée)
2
Tuba (partie séparée)
2
Trombone (partie séparée)
2
Trombone basse et Piano
1
Ensemble de Trompettes
1
Euphonium
1
Quatuor de cuivres: 4 trompettes
1
Euphonium, Tuba (duo)
1
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
+ 33 instrumentations
Retracter
Cordes
Violon
321
Violoncelle
106
Violon et Piano
98
Quatuor à cordes: 2 violons, alto, violoncelle
89
Violoncelle, Piano
53
Alto seul
48
Trio à Cordes: 2 violons, violoncelle
46
Alto, Piano
42
Violon, Violoncelle (duo)
35
2 Violons (duo)
30
Violon, Alto (duo)
30
Trio à Cordes: violon, alto, violoncelle
17
Harpe
15
2 Violons et Basse continue
14
Trio à cordes: 3 violins
14
2 Altos (duo)
13
Violon, Basson (duo)
12
Contre Basse
12
2 Violoncelles (duo)
9
Trio à Cordes: 3 violoncelles
5
Alto, Violoncelle (duo)
5
Violon (partie séparée)
5
Flûte, Contrebasse (duo)
5
Violoncelle, Contrebasse (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Violoncelle, Orchestre
4
2 Contrebasses (duo)
4
Violoncelle, Basse continue
4
Contrebasse, Piano (duo)
4
4 Violoncelles
4
Trio à cordes
3
Violon, Basse continue
3
Alto (partie séparée)
2
Alto, Guitare (duo)
1
Violoncelle , Guitare (duo)
1
Violoncelle, Orgue
1
Quatuor à cordes: 4 violons
1
Harpe, Flûte (duo)
1
2 Violons, Piano
1
Ensemble de Violoncelles
1
Contrebasse (partie séparée)
1
+ 36 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
46
Orchestre à Cordes
34
Orchestre
30
Orchestre d'harmonie
17
Ensemble de cuivres
5
Quintette à Vent
2
Ensemble Jazz
2
Ensemble de Percussions
2
Percussion
1
Percussion (partie séparée)
1
+ 5 instrumentations
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--INSTRUMENTS--
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AUTOHARPE
BANJO
BASSE
BASSON
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Vous avez sélectionné:
Can Sonata
Ensemble de Flûtes
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Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
#
Ensemble de Flûtes
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
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...
(+)
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
#
Ensemble de Flûtes
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
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...
(+)
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
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