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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
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FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
HARMONICA
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LUTH
MANDOLINE
MARIMBA
OCARINA
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VIBRAPHONE
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VIOLONCELLE
XYLOPHONE
Dialogue
Non classifié
415
Piano & claviers
Piano seul
60
Orgue
36
Piano, Voix
21
Piano Facile
18
Instruments en Do
14
Piano, Voix et Guitare
11
Piano Trio: piano, violon, violoncelle
4
Accompagnement Piano
3
2 Pianos, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Orgue et Orchestre
1
1 Piano, 4 mains
1
Accordéon, Corde(s)
1
+ 8 instrumentations
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Guitares
Guitare
9
Ligne De Mélodie, (Paroles) et Accords
3
Guitare notes et tablatures
2
2 Guitares (duo)
2
Piano, Guitare (duo)
1
Dulcimer
1
+ 1 instrumentations
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Voix
Chorale SATB
49
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10
Chorale Unison
10
Voix seule
8
Chorale TTBB
6
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5
Voix duo, Piano
5
Chorale SSAA
3
Voix Soprano, Piano
2
Voix duo
1
Voix Tenor, Piano
1
Voix basse, Piano
1
Voix duo, Orgue
1
Voix haute
1
Chorale SSAATTBB
1
+ 10 instrumentations
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Vents
2 Flûtes traversières (duo)
34
Flûte traversière et Piano
25
Hautbois, Piano (duo)
23
2 Saxophones (duo)
22
Saxophone Alto et Piano
18
Hautbois, Basson (duo)
17
Clarinette et Piano
17
Flûte, Violoncelle
13
Clarinette, Violoncelle (duo)
12
Flûte, Clarinette (duo)
12
Hautbois, Violoncelle
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Clarinette, Violon (duo)
10
Flûte, Violon
10
Flûte, Alto (duo)
9
Clarinette, Basson (duo)
9
Flûte, Hautbois, Clarinette, Basson
9
Clarinette et Alto
9
Saxophone Tenor et Piano
8
Saxophone Soprano et Piano
8
Saxophone Alto
7
Quatuor de Saxophones: 4 saxophones
7
2 Hautbois (duo)
7
Flûte traversière
7
2 Clarinettes (duo)
6
Saxophone, Clarinette (duo)
6
Hautbois et alto (duo)
6
Hautbois, violon (duo)
5
Ensemble de Clarinettes
5
Hautbois, Clarinette (duo)
5
Flûte, Hautbois (duo)
4
Flûte, Trombone (duo)
4
Clarinette, Trompette (duo)
4
Saxophone (partie séparée)
4
Hautbois (partie séparée)
4
Flûte, Trompette (duo)
3
Hautbois, trombone (duo)
3
Quintette de Saxophone: 5 saxophones
3
Cor anglais, Piano
3
Clarinette
3
Quatuor de Clarinettes: 4 clarinettes
3
Ensemble de Flûtes
3
Clarinette, Trombone (duo)
3
Flûte, Tuba (duo)
2
3 Saxophones (trio)
2
Flute (partie séparée)
2
3 Clarinettes (trio)
2
Flûte, Hautbois, Clarinette (trio)
2
Clarinette, Tuba
2
Flûte à Bec
2
Flûte, Saxophone (duo)
2
Flûte, Hautbois, Basson
2
Flûte, Clarinette, Piano (trio)
2
Flûte, Violoncelle, Piano (trio)
2
Clarinette (partie séparée)
2
Hautbois, Flûte
2
2 Clarinettes, Piano
2
Flûte, Violon, Piano
2
Flûte, Hautbois, Piano (trio)
1
Quintette de Flûte : 5 flûtes
1
Flûte et Guitare
1
2 Flûtes traversières, Piano
1
Clarinette Basse, Piano
1
Trio de Flûtes: 3 flûtes
1
Flûte à bec Soprano
1
Clarinette, Contrebasse (duo)
1
Saxophone Tenor
1
Hautbois, Orgue
1
Ensemble de saxophones
1
Saxophone Baryton, Piano
1
Flûte, Basson et Piano
1
+ 66 instrumentations
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Cuivres
Trombone et Piano
14
Trompette, Piano
13
Trompette, Trombone (duo)
12
Cor et Piano
8
Tuba et Piano
7
Euphonium, Piano (duo)
7
Cor, Violoncelle (duo)
6
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
2 Trompettes (duo)
6
2 Trombones (duo)
6
Trompette, Violoncelle (duo)
6
Cor
5
2 Cors (duo)
5
Quatuor de Cuivres
5
Trompette, Basson (duo)
4
Trompette
4
Trompette, Saxophone (duo)
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Trombone
3
Trompette et Guitare
3
Trompette (partie séparée)
3
Cor anglais, Piano
3
Trompette, Cor (duo)
3
Euphonium
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Tubas (duo)
2
Trompette, Tuba (duo)
2
Cor et Basson (duo)
1
Trombone, Violon (duo)
1
3 Euphoniums
1
Tuba
1
Trompette, violon (duo)
1
Tuba (partie séparée)
1
Trombone (partie séparée)
1
Trombone, Tuba (duo)
1
Ensemble de Trombones
1
Cor (partie séparée)
1
+ 32 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
28
Violon et Piano
28
Alto, Piano
25
Violoncelle, Piano
24
Violon, Violoncelle (duo)
16
2 Violons (duo)
16
Trio à Cordes: violon, alto, violoncelle
13
Violon, Alto (duo)
10
Violoncelle
10
Alto, Violoncelle (duo)
8
Violon, Basson (duo)
8
Violon
8
2 Altos (duo)
7
2 Violoncelles (duo)
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Violon, Guitare (duo)
6
Alto seul
5
Alto et Basson
3
Contrebasse, Piano (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
2 Contrebasses (duo)
3
Harpe, Flûte (duo)
2
Violoncelle, Contrebasse (duo)
2
Violoncelle , Guitare (duo)
2
Contre Basse
2
Alto (partie séparée)
2
Harpe
2
4 Contrebasses
1
Violon, Clarinette, Piano (trio)
1
Violoncelle (partie séparée)
1
Piano Trio: Violon, Alto, Piano
1
Violon, Tuba (duo)
1
Violon (partie séparée)
1
Quatuor à cordes : 4 altos
1
Flûte, Contrebasse (duo)
1
+ 30 instrumentations
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Orchestre d'harmonie
21
Orchestre
15
Orchestre à Cordes
10
Orchestre de chambre
8
Ensemble de cuivres
8
Percussion (partie séparée)
4
Ensemble Jazz
4
Xylophone, Piano
3
Vibraphone
2
Cloches
1
Ensemble de Percussions
1
2 Xylophones
1
Percussion
1
Marimba et Orgue
1
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Dialogue
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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
#
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
#
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
"Midnight Carousel" for Flute Choir-Six C Flutes
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Halloween
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Grant Horsley
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"Midnight Carousel" for Flute
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Grant Horsley
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Flute - Level 3 - SKU: A0.1174640 Composed by Grant Horsley. Classical,Contemporary,Contest,Festival,Halloween,Multicultur...
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Flute Choir,Woodwind Ensemble Flute - Level 3 - SKU: A0.1174640 Composed by Grant Horsley. Classical,Contemporary,Contest,Festival,Halloween,Multicultural,World. 43 pages. Grant Horsley #774762. Published by Grant Horsley (A0.1174640). Midnight Carousel is scored for Six C Flutes. -A Flute choir comprising 4 C Flutes, Alto and Bass Flute is also availableMidnight Carousel is in the deep rich key of D minor to aid to the After Dark mood and mysteryThe piece has two distinct ideas. After the introduction a Circus- type Waltz begins, when this is repeated it has a very haunting counter melody which is both lilting and lyrical. As the piece develops, an out of character playful Scherzo theme begins which adds some intensity and mystery surrounding the Midnight Carousel. Both Waltz and Scherzo themes exchange dialogue throughout this section as if wanting some sort of control, when suddenly two accents appear to signify a halt We then return to the opening theme once more to lead us to a finish. Before the conclusion however, the Scherzo theme re-instates it's ideas before the final bars!The whole score is on the youtube link for you to assess suitability- It has been set to intermediate level as the range is around 2 octaves with some parts less than this. Mainly Quarter and Eighth notes used throughout- therefore it would be appropriate for some early-intermediate players.It is around 3 mins 30 long and price is for full score and all parts.Ideal for concerts, contests, productions, halloween, folklore/fantasy themes or simply something different to add to the repertoire.
$13.50
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