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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
E and E Cello Music
Non classifié
546
Piano & claviers
Piano seul
36
Piano Trio: piano, violon, violoncelle
29
Piano Quatuor: piano, violon, alto, violoncelle
19
Orgue
15
Piano, Voix et Guitare
12
Piano, Voix
8
Piano Quintette: piano, 2 violons, alto, violoncelle
8
Piano Facile
7
Piano (partie séparée)
3
Accompagnement Piano
3
Instruments en Do
2
Piano grosses notes
1
+ 7 instrumentations
Retracter
Guitares
Guitare notes et tablatures
7
Guitare (partie séparée)
6
2 Guitares (duo)
3
Guitare
1
Ukulele
1
Banjo
1
Mandoline
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
48
Chorale Unison
12
Chorale 3 parties
8
Chorale 2 parties
6
Voix Soprano, Piano
3
Voix Tenor, Piano
2
Chorale SSAA
2
Voix Alto, Piano
2
Pack Instrumental pour Chorale
2
Voix duo
2
Voix basse, Piano
1
Chorale
1
Chorale TTBB
1
+ 8 instrumentations
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Vents
Saxophone (partie séparée)
28
Clarinette (partie séparée)
26
Flûte traversière et Piano
16
Clarinette et Piano
14
Hautbois (partie séparée)
12
Flute (partie séparée)
8
Hautbois, Piano (duo)
7
Saxophone Alto et Piano
7
Flûte, Violon et Violoncelle
6
Hautbois, Basson (duo)
6
2 Clarinettes (duo)
6
Flûte, Violoncelle
6
Saxophone Tenor et Piano
6
2 Saxophones (duo)
5
3 Saxophones (trio)
4
Quintette de Saxophone: 5 saxophones
4
Quatuor de Saxophones: 4 saxophones
4
Flûte à Bec
4
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
4
Clarinette, Violoncelle (duo)
4
Clarinette, Violoncelle, Piano (trio)
4
2 Flûtes traversières (duo)
3
Clarinette Basse, Piano
3
2 Flûte à bec (duo)
3
Flûte, Hautbois, Clarinette, Basson
3
Flûte et Guitare
3
Flûte et Trio à cordes
3
Flûte, Hautbois, Clarinette (trio)
3
Saxophone Baryton, Piano
3
Flûte, Violoncelle, Piano (trio)
3
Cor anglais, Piano
2
Hautbois, Violoncelle et Piano
2
Saxophone Soprano et Piano
2
Quatuor de Clarinettes: 4 clarinettes
2
Clarinette, Basson (duo)
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Hautbois, Violoncelle
2
Ensemble de Flûtes
2
Quintette de Flûte : 5 flûtes
1
Quintette de Clarinettes: 5 clarinettes
1
Clarinette
1
Flûte à bec Alto, Basse continue
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Alto
1
3 Flûtes à bec (trio)
1
3 Clarinettes (trio)
1
Quatuor de Flûtes à bec
1
Saxophone et violoncelle
1
2 Clarinettes, Piano
1
Flûte, Violon, Violoncelle et Piano
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
2 Saxophones, Piano
1
Trio de Flûtes: 3 flûtes
1
2 Flûtes, Basse continue
1
+ 49 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
23
Trompette (partie séparée)
13
Trombone et Piano
12
Tuba et Piano
8
Tuba (partie séparée)
7
Trompette, Piano
7
Cor (partie séparée)
7
Cor et Piano
7
Trombone, violoncelle (duo)
4
Trompette
3
Cor anglais, Piano
2
Trombone, Cor (duo)
2
2 Trombones (duo)
2
Euphonium, Piano (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Quatuor de cuivres: 4 trompettes
1
2 Trompettes (duo)
1
Euphonium, Tuba (duo)
1
4 Tubas
1
Quatuor de cuivres: 4 trombones
1
Quatuor de cuivres: 4 cors
1
Ensemble de Trompettes
1
Euphonium
1
Trompette, Cor (duo)
1
Trompette, Trombone (duo)
1
2 Tubas (duo)
1
Bass Clef Instruments
1
Ensemble de Cors
1
Cor, Violoncelle (duo)
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Tuba
1
+ 26 instrumentations
Retracter
Cordes
Violoncelle (partie séparée)
2 945
Quatuor à cordes: 2 violons, alto, violoncelle
565
Violoncelle
301
Violoncelle, Piano
201
Violon, Violoncelle (duo)
181
Trio à Cordes: 2 violons, violoncelle
82
Trio à Cordes: violon, alto, violoncelle
78
Quintette à cordes: 2 violons, alto, violoncelle, basse
67
2 Violoncelles (duo)
66
Violon (partie séparée)
60
Contrebasse (partie séparée)
31
Violon
29
Alto (partie séparée)
27
Violoncelle , Guitare (duo)
22
Alto, Violoncelle (duo)
19
Violon, Alto (duo)
19
Violon et Piano
19
4 Violoncelles
16
Alto, Piano
15
Violoncelle, Contrebasse (duo)
11
Piano Trio: Violon, Alto, Piano
10
Alto seul
9
2 Altos (duo)
6
Trio à Cordes: 3 violoncelles
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
5
Flûte, Contrebasse (duo)
5
Harpe, Violoncelle (duo)
5
Alto et Harpe
4
Harpe, Violon (duo)
4
Contre Basse
4
Harpe, Flûte (duo)
4
Violoncelle, Basse continue
4
2 Violons (duo)
4
Violoncelle, Orgue
4
Trio à cordes
3
Violon, Basse continue
3
Harpe
3
Violoncelle, Orchestre
3
Contrebasse, Piano (duo)
3
Trio à Cordes: 2 violons, alto
2
2 Violons et Basse continue
2
Quatuor à cordes : 4 altos
1
Alto, Guitare (duo)
1
Harpe, Violon, Violoncelle
1
Trio à cordes: 3 violins
1
Violon, Guitare (duo)
1
Trio à cordes: 3 altos
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
+ 43 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
114
Orchestre
53
Orchestre d'harmonie
35
Orchestre de chambre
13
Percussion (partie séparée)
9
Batterie (partie séparée)
4
Piano et Orchestre
1
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
1
Orchestre, Violon
1
Timbales (partie séparée)
1
Ensemble de Percussions
1
Ensemble Jazz
1
+ 7 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
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CHORALE - CHAN…
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Vous avez sélectionné:
E and E Cello Music
Ensemble de Flûtes
Partitions à imprimer
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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
#
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
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
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