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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
Invent
Non classifié
429
Piano & claviers
Piano seul
1 021
Piano Facile
78
2 Pianos, 4 mains
45
Piano, Voix
37
Orgue
32
Piano, Voix et Guitare
17
Clavecin
12
Orgue, Piano (duo)
9
1 Piano, 4 mains
7
Accordéon
7
Instruments en Do
6
Piano Trio: piano, violon, violoncelle
2
2 Accordéons
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Clavier
1
+ 10 instrumentations
Retracter
Guitares
Piano, Guitare (duo)
112
Guitare
54
Guitare notes et tablatures
23
2 Guitares (duo)
19
Mandoline
3
Basse electrique
3
4 Guitares (Quatuor)
3
3 Guitares (trio)
2
Banjo
2
Ligne De Mélodie, (Paroles) et Accords
2
Mandoline, Guitare (duo)
1
2 Mandolines (duo)
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
68
Chorale 3 parties
33
Chorale 2 parties
13
Chorale Unison
7
Chorale TTBB
4
Voix Soprano, Piano
2
Chorale SSAA
2
Voix moyenne, Piano
2
Voix Alto, Piano
1
Voix basse
1
Voix Baryton, Piano
1
Chorale SSAB a cappella
1
Voix duo, Piano
1
+ 8 instrumentations
Retracter
Vents
Hautbois, Piano (duo)
200
Clarinette et Piano
186
Flûte traversière et Piano
175
Saxophone Alto et Piano
131
Saxophone Tenor et Piano
126
2 Saxophones (duo)
61
2 Clarinettes (duo)
49
2 Flûtes traversières (duo)
43
3 Clarinettes (trio)
24
Clarinette
24
Hautbois (partie séparée)
20
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
19
Flûte traversière
19
Flûte, Hautbois, Clarinette, Basson
16
Quatuor de Saxophones: 4 saxophones
14
Quatuor de Clarinettes: 4 clarinettes
11
Flûte, Violoncelle
11
Hautbois, Basson (duo)
10
3 Saxophones (trio)
8
Flûte, Clarinette (duo)
8
Quatuor de Flûtes : 4 flûtes
8
Trio de Flûtes: 3 flûtes
8
Ensemble de Clarinettes
7
3 Flûtes à bec (trio)
7
Clarinette, Basson (duo)
6
Saxophone Baryton, Piano
5
Flute (partie séparée)
5
Flûte à Bec
4
2 Flûte à bec (duo)
4
Hautbois, Clarinette (duo)
4
Flûte, Hautbois (duo)
4
Ensemble de Flûtes
4
Flûte, Saxophone (duo)
4
Saxophone Alto
4
Clarinette (partie séparée)
3
2 Hautbois (duo)
3
Flûte, Alto (duo)
3
Flûte, Violon
3
Quintette de Saxophone: 5 saxophones
2
Flute, Cor (duo)
2
Flûte, Trombone (duo)
2
Flûte, Trompette (duo)
2
Flûte et Guitare
2
Saxophone (partie séparée)
2
Saxophone Tenor
2
Saxophone Soprano et Piano
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Clarinette, Violon (duo)
2
5 Flûtes à bec
2
Flûte et Quatuor à Cordes
1
Hautbois, Flûte
1
Clarinette, Guitare (duo)
1
Ensemble à vent
1
Saxophone et violoncelle
1
Piccolo
1
Saxophone, Clarinette (duo)
1
Quintette de Clarinettes: 5 clarinettes
1
Hautbois, Violoncelle
1
Clarinette, Violoncelle (duo)
1
Saxophone et Guitare
1
Clarinette, Trombone (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette Basse, Piano
1
Flûte, Hautbois, Piano (trio)
1
Cor Anglais
1
2 Clarinettes, Basson
1
2 Saxophones, Piano
1
Saxophone, Basson (duo)
1
Flûte irlandaise
1
Cor anglais, Piano
1
Saxophone
1
+ 66 instrumentations
Retracter
Cuivres
Trombone et Piano
144
Trompette
85
Trompette, Piano
65
Trombone
19
Trompette (partie séparée)
19
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
19
Quatuor de Cuivres : 2 trompettes, trombone, tuba
16
2 Trompettes (duo)
10
Cor
8
Trombone (partie séparée)
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Trompette, Trombone (duo)
5
Quatuor de Cuivres
5
2 Trombones (duo)
5
3 Trombones (trio)
5
Tuba et Piano
3
Quatuor de cuivres: 4 trombones
3
Cor, Tuba (duo)
3
2 Cors (duo)
3
Trompette, Tuba (duo)
2
2 Tubas (duo)
2
Euphonium, Piano (duo)
2
Tuba (partie séparée)
2
Cor (partie séparée)
2
Trompette, Cor (duo)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Tuba
1
Trio de Cuivres
1
Cor et Piano
1
2 Euphoniums et 2 Tubas
1
Cor Anglais
1
Cor anglais, Piano
1
3 Euphoniums
1
+ 28 instrumentations
Retracter
Cordes
Alto, Piano
168
Violon et Piano
154
Violoncelle, Piano
137
Quatuor à cordes: 2 violons, alto, violoncelle
88
Violon, Violoncelle (duo)
73
2 Violoncelles (duo)
54
Violon, Alto (duo)
39
Violon
29
Trio à Cordes: violon, alto, violoncelle
27
Violoncelle
22
Violoncelle et Marimba
15
2 Violons (duo)
15
Alto (partie séparée)
10
Alto seul
9
Harpe
6
Contrebasse (partie séparée)
5
Violon (partie séparée)
5
2 Altos (duo)
5
Trio à Cordes: 2 violons, violoncelle
4
Trio à Cordes: 3 violoncelles
4
Alto, Violoncelle (duo)
4
4 Violoncelles
2
Alto et Basson
2
Violon, Guitare (duo)
2
Contre Basse
2
Trio à cordes
1
Trio à cordes: 3 violins
1
Violoncelle, Orgue
1
Violon, Basson (duo)
1
Alto, Guitare (duo)
1
Violoncelle (partie séparée)
1
Violoncelle , Guitare (duo)
1
Harpe, Flûte (duo)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Violoncelle, Contrebasse (duo)
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
2 Harpes (duo)
1
+ 32 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
90
Orchestre à Cordes
28
Orchestre
25
Marimba
15
2 Marimbas
15
Ensemble de cuivres
12
Orchestre de chambre
8
Ensemble Jazz
7
Percussion
4
Ensemble de Percussions
2
Jazz combo
2
Cloches
2
Batterie
2
Percussion (partie séparée)
1
Vibraphone
1
Vibraphone et Marimba
1
+ 11 instrumentations
Retracter
Autres
Formation musicale - Solfège
2
Instruments
ACCORDEON
ALTO
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BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
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CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
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COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Invent
Ensemble de Flûtes
Partitions à imprimer
4 partitions trouvées
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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
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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
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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
Miscka
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Ensemble de Flûtes
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Domenico Falanga
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Miscka
#
Forton Music - Digital
#
SheetMusicPlus
Flute ens - Intermediate-Advanced - SKU: F2.FM447 Composed by Domenico Falanga. Flute Ensemble. Score and parts. 38 pages. Forton Music - Digital #FM447...
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Flute ens - Intermediate-Advanced - SKU: F2.FM447 Composed by Domenico Falanga. Flute Ensemble. Score and parts. 38 pages. Forton Music - Digital #FM447. Published by Forton Music - Digital (F2.FM447). ISBN 9790570483464.This piece has echoes of the minimalism of John Adams. Ostinato rhythms in the low register of the ensemble are associated with rhythmic cycles of 3 and 4 in the middle and upper registers. The composition is characterized by blocks of sound with offset overlapping of rhythmic and melodic motifs that create a texture that is very rhythmically articulated yet euphonic, and from which spring harmonies resulting from the overlap of the repeating melodic lines of the individual instruments. The form is divided into 3 parts (ABA '), in a modal style where the Doric order dominates the composition. The title comes from the composer's love of inventing nicknames for members of his family, especially his wife, to whom it is dedicated.
$14.95
Gustav Holst - Folksongs of Hampshire set for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Traditional
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Gustav Holst, John Gibson
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Gustav Holst - Folksongs of Ha
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JB Linear
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SheetMusicPlus
Flute, Woodwind Choir or Ensemble - Advanced Intermediate - Digital Download Composed by Traditional. Arranged by Gustav Holst, John Gibson. Folk, Celtic. ...
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Flute, Woodwind Choir or Ensemble - Advanced Intermediate - Digital Download Composed by Traditional. Arranged by Gustav Holst, John Gibson. Folk, Celtic. Score, Set of Parts. 53 pages. Published by JB Linear
Gustav Holst - Folksongs of Hampshire England . In the early 1900's there was great interest in collecting and preserving the folk songs of England, Scotland, and Ireland. Equipped with their newly invented recording devices, people such as Cecil Sharp, Charles Stanford, Ralph Vaughan Williams, and Gustav Holst would travel into the country-side to record, or notate songs being sung. They would frequently use these songs in their own compositions. Holst's music in particular is filled with those songs and his two suites for band are especially valued by wind bands around the world. This group of four songs was arranged for voice and piano by Holst and set for flute choir by John Gibson. The songs are 1. Young Edwin in the Lowlands Low 2. Bedlam City 3. The Irish Girl 4. Young Reilly. The instrumentation is: Piccolo, Flute 1-3, Alto Flute, Bass Flute, and Contra Bass Flute.
$17.50
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