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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
Hon Baroque
Non classifié
1 752
Piano & claviers
Piano seul
102
Piano Facile
55
Piano, Voix
43
Orgue
17
Accompagnement Piano
6
Piano, Voix et Guitare
6
Instruments en Do
3
Piano Trio: piano, violon, violoncelle
3
Orgue, Trompette (duo)
2
Piano Quatuor: piano, violon, alto, violoncelle
2
1 Piano, 4 mains
2
Clavecin
1
2 Pianos, 4 mains
1
Fake Book
1
+ 9 instrumentations
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Guitares
Guitare
21
Guitare notes et tablatures
13
Ukulele
8
Ukulele Baryton
1
Mandoline, Guitare (duo)
1
4 Guitares (Quatuor)
1
2 Guitares (duo)
1
+ 2 instrumentations
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Voix
Chorale SATB
19
Chorale 3 parties
4
Chorale 2 parties
3
Voix duo, Piano
1
Voix et basse continue
1
Voix seule
1
Chorale Unison
1
Voix haute
1
+ 3 instrumentations
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Vents
Quatuor de Saxophones: 4 saxophones
735
2 Saxophones (duo)
564
Saxophone Alto et Piano
318
Quintette de Saxophone: 5 saxophones
269
3 Saxophones (trio)
263
Saxophone Tenor et Piano
240
Saxophone Soprano et Piano
211
Saxophone Alto
157
Saxophone Tenor
112
Flûte, Hautbois, Clarinette, Basson
109
Saxophone (partie séparée)
107
Saxophone Baryton, Piano
92
Ensemble de saxophones
71
Saxophone, Clarinette (duo)
49
Flûte traversière et Piano
37
Clarinette et Piano
35
Quatuor de Clarinettes: 4 clarinettes
33
Saxophone, Violon (duo)
33
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
31
Saxophone Soprano
25
Saxophone
22
2 Saxophones, Piano
18
2 Flûtes traversières (duo)
17
Saxophone et Guitare
15
Saxophone Baryton
14
Flûte, Saxophone (duo)
14
2 Clarinettes (duo)
14
Hautbois, Piano (duo)
12
Ensemble de Clarinettes
10
2 Hautbois (duo)
10
Flûte traversière
10
Quintette de Clarinettes: 5 clarinettes
9
Saxophone, Basson (duo)
8
Saxophone et Harpe
8
3 Clarinettes (trio)
8
Trio de Flûtes: 3 flûtes
7
Saxophone et Piano
7
Quatuor de Flûtes : 4 flûtes
7
Flûte, Hautbois, Clarinette (trio)
7
Clarinette
6
Flûte, Clarinette (duo)
6
Flûte à Bec
6
Flûte, Clarinette et Basson
6
Quatuor de Flûtes à bec
6
Ensemble De Flûte à bec
5
Hautbois
4
Saxophone et violoncelle
4
Ensemble de Flûtes
4
Instruments en Mib
3
Cor anglais, Piano
3
Clarinette (partie séparée)
3
Clarinette, Basson (duo)
3
Flûte et Guitare
3
Quintette de Flûte : 5 flûtes
3
Hautbois, Clarinette, Basson (trio d'anches)
2
2 Flûte à bec (duo)
2
Hautbois, Basson (duo)
2
Hautbois (partie séparée)
2
Clarinette Basse, Piano
2
Cor Anglais
1
Flûte, Violon
1
3 Flûtes à bec (trio)
1
Flûte, Hautbois (duo)
1
Clarinette, Violon (duo)
1
Flûte à bec Tenor
1
Hautbois, Clarinette (duo)
1
Ensemble à vent
1
4 Hautbois
1
Ensemble de Hautbois
1
Flute (partie séparée)
1
+ 65 instrumentations
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Cuivres
Euphonium, Piano (duo)
72
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
63
Trompette, Saxophone (duo)
51
2 Euphoniums (duo)
30
Trombone et Piano
20
Quatuor de Cuivres : 2 trompettes, trombone, tuba
19
Euphonium, Tuba (duo)
18
Trompette, Piano
18
Euphonium
17
Trompette
17
2 Euphoniums et 2 Tubas
14
2 Trombones (duo)
13
Quatuor de cuivres: 4 trombones
13
Quatuor de Cuivres: 2 trompettes, Cor, trombone
12
Trombone
12
Tuba et Piano
11
Cor et Piano
10
2 Trompettes (duo)
10
Tuba
10
Ensemble de Trompettes
9
2 Cors (duo)
9
Ensemble de Trombones
8
Trompette, Trombone (duo)
8
Trompette (partie séparée)
6
4 Tubas
4
Instruments en Sib
4
Cor
4
Trompette, Cor (duo)
4
2 Tubas (duo)
4
Quatuor de cuivres: 4 cors
4
Cor anglais, Piano
3
3 Euphoniums
3
Trombone basse
3
Cor (partie séparée)
2
Cor, Tuba (duo)
2
3 Tubas (trio)
2
Ensemble de Cors
2
Quatuor de Cuivres
2
Cor Anglais
1
Trombone (partie séparée)
1
Tuba et Orgue
1
Euphonium Ou Saxhorn Et Piano
1
Tuba (partie séparée)
1
2 Trompettes, Clavier (piano ou orgue)
1
Trompette, violon (duo)
1
3 Cors (trio)
1
3 Trombones (trio)
1
4 Euphoniums
1
+ 43 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
42
Violon et Piano
40
Harpe
32
Alto, Piano
30
Violon
26
Trio à Cordes: violon, alto, violoncelle
26
2 Harpes (duo)
11
Violoncelle, Piano
10
2 Violoncelles (duo)
9
Violon, Violoncelle (duo)
9
Violon, Alto (duo)
9
2 Violons (duo)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
Violoncelle
7
2 Altos (duo)
7
Contrebasse, Piano (duo)
6
Alto seul
5
Contre Basse
5
Trio à Cordes: 2 violons, violoncelle
3
Piano Trio: Violon, Alto, Piano
2
2 Contrebasses (duo)
2
Violon, Guitare (duo)
2
Trio à Cordes: 2 violons, alto
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 violins
1
Quatuor à cordes : 4 altos
1
Violon, Violoncelle, Clarinette
1
Trio à cordes: 3 altos
1
Violon (partie séparée)
1
Quatuor à cordes: 4 violons
1
+ 25 instrumentations
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Orchestre & Percussions
Orchestre
134
Ensemble de cuivres
71
Orchestre d'harmonie
66
Orchestre à Cordes
33
Orchestre de chambre
14
Xylophone, Piano
10
Xylophone
4
Marimba
3
Ensemble Jazz
3
2 Xylophones
2
Quintette de Cuivres: autres combinaisons
1
Orchestre, Violon
1
Timbales (partie séparée)
1
Piano et Orchestre
1
Vibraphone
1
Ensemble de Percussions
1
Cloches
1
Quintette à Vent
1
+ 13 instrumentations
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--INSTRUMENTS--
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AUTOHARPE
BANJO
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BOUZOUKI
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Vous avez sélectionné:
Hon Baroque
Ensemble de Flûtes
Partitions à imprimer
4 partitions trouvées
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Pastoral Symphony from Messiah for Flute Choir
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Ensemble de Flûtes
#
INTERMÉDIAIRE
#
Classique
#
George Frideric Handel
#
Lisa Ochoco
#
Pastoral Symphony from Messiah
#
Lisa L Ochoco
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1137187 Composed by George Frideric Handel. Arranged by Lisa Ochoco. Baroque,Chr...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1137187 Composed by George Frideric Handel. Arranged by Lisa Ochoco. Baroque,Christmas,Sacred. 12 pages. Lisa L Ochoco #737388. Published by Lisa L Ochoco (A0.1137187). Pastoral Symphony is the 13th movement in Handel's Messiah. This is the beginning of Scene 4 of the oratorio, The Annunciation to the Shepherds, after the birth of Jesus. The word pastorale in baroque music is a melody in thirds over a drone bass. Originally called Pifa, this movement was named after the shepherd bagpipers - pifferari - who used to play their instruments in the streets of Rome at Christmastime. Scored for 2 C, alto, and bass flute. If your choir has a contrabass flute, it can double the bass part. There is an optional cello part that doubles the bass an octave lower. Duration: 2.5 minutes.
$5.00
Pastoral Symphony from Messiah for Low Flute Choir
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Ensemble de Flûtes
#
INTERMÉDIAIRE
#
Classique
#
George Frideric Handel
#
Lisa Ochoco
#
Pastoral Symphony from Messiah
#
Lisa L Ochoco
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1164626 Composed by George Frideric Handel. Arranged by Lisa Ochoco. Baroque,Chr...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.1164626 Composed by George Frideric Handel. Arranged by Lisa Ochoco. Baroque,Christmas,Sacred. 14 pages. Lisa L Ochoco #764960. Published by Lisa L Ochoco (A0.1164626). Pastoral Symphony is the 13th movement in Handel's Messiah. Â This is the beginning of Scene 4 of the oratorio, The Annunciation to the Shepherds, after the birth of Jesus. Â The word pastorale in baroque music is a melody in thirds over a drone bass. Â Originally called Pifa, this movement was named after the shepherd bagpipers - pifferari - Â who used to play their instruments in the streets of Rome at Christmastime. Â Scored for 2 altos, bass, optional contra alto in G, and contrabass flutes. Â There is an optional cello part that doubles the contrabass.Duration: 2.5 minutes.
$5.00
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Ensemble de Flûtes
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
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
#
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
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