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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
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Non classifié
219
Piano & claviers
Piano seul
150
Piano Facile
61
Piano, Voix
42
Piano, Voix et Guitare
13
2 Pianos, 4 mains
12
Piano Trio: piano, violon, violoncelle
11
Orgue
10
Piano (partie séparée)
6
Instruments en Do
4
1 Piano, 4 mains
2
Piano Quatuor: piano, violon, alto, violoncelle
2
Accompagnement Piano
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 9 instrumentations
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Guitares
Guitare
11
Guitare (partie séparée)
10
Guitare notes et tablatures
8
2 Guitares (duo)
3
Ukulele
3
3 Guitares (trio)
1
Ensemble de guitares
1
Basse electrique
1
+ 3 instrumentations
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Voix
Chorale SATB
89
Chorale 3 parties
15
Chorale 2 parties
9
Voix seule
8
Chorale Unison
6
Chorale TTBB
5
Chorale SSAA
4
Voix duo, Piano
2
Soli, choeur mixte et accompagnement
1
Chorale SSAATTBB
1
Chorale SSATTB
1
+ 6 instrumentations
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Vents
Flûte traversière et Piano
35
Saxophone (partie séparée)
31
Clarinette et Piano
30
Hautbois, Piano (duo)
26
Flûte, Hautbois, Clarinette, Basson
25
2 Flûtes traversières, Piano
25
Quatuor de Saxophones: 4 saxophones
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Saxophone Alto et Piano
12
Quatuor de Flûtes : 4 flûtes
7
Saxophone Soprano et Piano
7
2 Clarinettes (duo)
6
Quintette de Saxophone: 5 saxophones
6
Cor anglais, Piano
6
Ensemble de Clarinettes
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Alto
5
2 Saxophones (duo)
5
Ensemble de Flûtes
5
Saxophone Tenor et Piano
5
2 Flûtes traversières (duo)
4
Flûte traversière
3
Saxophone, Clarinette (duo)
3
Clarinette (partie séparée)
3
Flûte et Guitare
3
Hautbois (partie séparée)
3
Flute (partie séparée)
3
Flûte à bec Soprano
2
Clarinette, Trompette (duo)
2
Saxophone Tenor
2
Clarinette, Violon (duo)
2
Quintette de Flûte : 5 flûtes
2
Trio de Flûtes: 3 flûtes
2
Saxophone Baryton, Piano
2
Clarinette
2
Clarinette Basse, Piano
2
Piccolo, Piano
1
Flûte, Trompette (duo)
1
2 Hautbois (duo)
1
Flûte, Violon
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Clarinette (duo)
1
Piccolo
1
Flûte, Violon, Piano
1
Clarinette et Alto
1
Hautbois, Flûte
1
Flûte, Saxophone (duo)
1
Saxophone et Guitare
1
Ensemble de saxophones
1
Quatuor de Flûtes à bec
1
Flûte, Trombone (duo)
1
Flûte, Clarinette et Basson
1
Hautbois, Basson (duo)
1
Hautbois, Clarinette (duo)
1
Hautbois, Guitare (duo)
1
Flûte, Clarinette, Piano (trio)
1
+ 51 instrumentations
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Cuivres
Trombone (partie séparée)
29
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
27
Trompette (partie séparée)
24
Quatuor de Cuivres : 2 trompettes, trombone, tuba
18
Trombone et Piano
11
Trompette, Piano
11
Cor et Piano
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
Cor anglais, Piano
6
Trompette
5
Tuba et Piano
4
Cor (partie séparée)
3
Euphonium, Piano (duo)
3
Cor
3
Trompette, Trombone (duo)
3
Ensemble de Trombones
2
Tuba (partie séparée)
2
Trompette, Saxophone (duo)
2
Ensemble de Trompettes
2
2 Trompettes (duo)
2
Quatuor de Cuivres
2
Quatuor de cuivres: 4 trompettes
1
Trombone
1
Quatuor de cuivres: 4 trombones
1
2 Trombones (duo)
1
+ 20 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
46
Violon et Piano
41
Violoncelle, Piano
30
Alto, Piano
25
Violon
13
Contrebasse (partie séparée)
8
Violon, Violoncelle (duo)
7
Trio à Cordes: violon, alto, violoncelle
7
Contrebasse, Piano (duo)
6
Contre Basse
4
Alto seul
4
Violon (partie séparée)
4
2 Violoncelles (duo)
3
Violoncelle
3
Ensemble de Violons
2
2 Altos (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Quatuor à cordes : 4 altos
1
Violoncelle, Contrebasse (duo)
1
2 Violons (duo)
1
Flûte, Contrebasse (duo)
1
3 Harpes
1
Trio à Cordes: 2 violons, alto
1
2 Harpes (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Harpe
1
Violon, Alto (duo)
1
+ 23 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
121
Orchestre à Cordes
57
Ensemble Jazz
46
Orchestre
21
Orchestre de chambre
7
Ensemble de cuivres
6
Cloches
6
Percussion (partie séparée)
5
Batterie (partie séparée)
5
Jazz combo
4
Fanfare
3
Batterie
2
Ensemble de Percussions
2
Piano et Orchestre
1
Vibraphone
1
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--INSTRUMENTS--
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Vous avez sélectionné:
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Ensemble de Flûtes
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5 partitions trouvées
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Dona Nobis Negative Harmony Pacem for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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Lisa Ochoco
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Dona Nobis Negative Harmony Pa
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Lisa L Ochoco
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.560043 Composed by Wolfgang Amadeus Mozart. Arranged by Lisa Ochoco. Classical,I...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.560043 Composed by Wolfgang Amadeus Mozart. Arranged by Lisa Ochoco. Classical,Instructional. 15 pages. Lisa L Ochoco #6381373. Published by Lisa L Ochoco (A0.560043). Dona Nobis Pacem is a very well-known canon that most musicians have played. This arrangement is a fun study in negative harmony - as the title indicates. Negative harmony is the brainchild of Swiss composer, Ernst Levy. The concept, very simply put, is an inversion of chords and notes centered around an axis. The result is often quite interesting. I am only a beginner at negative harmony, and this song was an experiment, but it turned out to be quite lovely.
$12.00
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
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Gabrieli
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James M
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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
Only Wind for flute sextet
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Ensemble de Flûtes
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Contemporain
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Matt Belzer
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Only Wind for flute sextet
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Matobelu Music
#
SheetMusicPlus
Small Ensemble Alto Flute - SKU: A0.483826 Composed by Matt Belzer. 20th Century. Score and parts. 41 pages. Published by Matobelu Music (A0.483826).
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Small Ensemble Alto Flute - SKU: A0.483826 Composed by Matt Belzer. 20th Century. Score and parts. 41 pages. Published by Matobelu Music (A0.483826). Only Wind was commissioned by the flute section of the “President’s Own†United States Marine Band. While composing this piece, I became fascinated by Inuit throat singing. Often practiced by sisters or best friends, it is a kind of friendly competition between two singers. While I did not attempt to capture the timbre or rhythm of that music in this piece, I was nevertheless inspired by its energy and its fast paced, back and forth quality. Only Wind consists of two parts: a meditative, aleatoric introduction, and an exciting, rhythmically driven section loosely following the classic four-strain formal structure of ragtime. (4 flutes, 2 alto flutes).
$22.00
The Lost Celestial
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Stephanie Pack
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The Lost Celestial
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Stephanie Pack
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SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - SKU: A0.1478241 By Stephanie Pack. By Stephanie Pack. Chamber. 33 pages. Stephan...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - SKU: A0.1478241 By Stephanie Pack. By Stephanie Pack. Chamber. 33 pages. Stephanie Pack #1055611. Published by Stephanie Pack (A0.1478241). Imagine Pluto as a living being, journeying through the cosmos with a heart full of dreams. For decades, Pluto basked in the joy and pride of being called a planet, a respected member of the Solar System family. Pluto felt the warmth and camaraderie of its planetary siblings, sharing the vast expanse of space with a sense of belonging.But then, the day came when scientists re-evaluated their criteria for what constitutes a planet. Pluto, once brimming with pride, was told it no longer fit the mold. The news struck like a comet, leaving Pluto feeling isolated and heartbroken. The title of 'planet' was stripped away, and Pluto's status was reduced to that of a mere dwarf planet.In the shadow of its larger, more recognized siblings, Pluto felt a profound sadness. It lingered on the fringes of the Solar System, its sense of identity shattered. However, as time passed, a new understanding began to emerge. The term 'dwarf planet' was created, acknowledging Pluto's unique characteristics and the role it plays in our cosmic neighborhood.Pluto's sorrow began to lift, replaced by a sense of renewed purpose and pride. It found solace in this new classification, realizing that it wasn't forgotten or insignificant. As a dwarf planet, Pluto embraced its identity, feeling a sense of happiness and validation. It stood out in its own right, celebrated for its distinctiveness and contribution to our understanding of the universe.Pluto's journey, filled with emotional highs and lows, ultimately led to a place of acceptance and joy. It taught us all a lesson in resilience and the importance of valuing every member of our celestial family, no matter how small or different they may seem.Parts for Piccolo, 2 C Flutes, 2 Alto Flutes with C flute alternatives, 2 Bass Flutes, and ContraBass Flute.
$19.99
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