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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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CORNET
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Max S
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428
Piano & claviers
Piano seul
248
Piano, Voix
85
Piano Facile
79
Piano, Voix et Guitare
54
Instruments en Do
19
Orgue
17
Piano Trio: piano, violon, violoncelle
6
Piano Quatuor: piano, violon, alto, violoncelle
4
1 Piano, 4 mains
3
Accompagnement Piano
2
Piano (partie séparée)
2
Piano grosses notes
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
+ 8 instrumentations
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Guitares
Ukulele
21
Basse electrique
19
Guitare notes et tablatures
13
Guitare
10
Ligne De Mélodie, (Paroles) et Accords
8
Guitare (partie séparée)
4
Paroles et Accords
4
Dulcimer
1
Banjo
1
4 Guitares (Quatuor)
1
2 Guitares (duo)
1
Basse électrique (partie séparée)
1
+ 7 instrumentations
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Voix
Chorale SATB
183
Chorale 3 parties
38
Chorale TTBB
36
Chorale SSAA
36
Chorale 2 parties
19
Chorale Unison
14
Voix haute
9
Voix d'Enfants
8
Voix moyenne, Piano
7
Voix Alto, Piano
3
Voix basse, Piano
2
Voix basse
2
Voix duo
2
Voix Baryton, Piano
1
Chorale SSATB
1
Voix Tenor, Piano
1
Voix Moyenne
1
Voix Soprano, Piano
1
Chorale SSAATTBB
1
+ 14 instrumentations
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Vents
Saxophone (partie séparée)
120
Hautbois (partie séparée)
50
Quatuor de Saxophones: 4 saxophones
32
Clarinette (partie séparée)
31
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
27
Flûte traversière
24
Saxophone Alto
23
Clarinette
20
Saxophone Tenor
18
Flûte traversière et Piano
15
Flute (partie séparée)
13
Clarinette et Piano
10
Quatuor de Clarinettes: 4 clarinettes
10
Saxophone Tenor et Piano
10
Flûte, Hautbois, Clarinette, Basson
9
Saxophone Alto et Piano
9
2 Clarinettes (duo)
9
Hautbois, Piano (duo)
8
2 Saxophones (duo)
8
Quintette de Saxophone: 5 saxophones
7
2 Flûtes traversières (duo)
6
Flûte à Bec
5
Ensemble de Clarinettes
5
Quatuor de Flûtes : 4 flûtes
5
Ensemble de saxophones
4
Saxophone Soprano et Piano
4
Ensemble de Flûtes
3
Saxophone, Clarinette (duo)
3
Saxophone Soprano
3
Saxophone
3
Hautbois
3
Flûte, Violon, Piano
2
Saxophone Baryton
2
Clarinette, Trompette (duo)
2
Trio de Flûtes: 3 flûtes
2
Clarinette, Violon (duo)
2
Saxophone Baryton, Piano
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte, Clarinette (duo)
2
Hautbois, Basson (duo)
1
Clarinette, Guitare (duo)
1
Cor anglais, Piano
1
Flûte, Alto (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Hautbois, Clarinette (duo)
1
2 Hautbois (duo)
1
Quatuor de Flûtes à bec
1
Flûte, Violon
1
Hautbois, Flûte
1
Clarinette et Alto
1
3 Saxophones (trio)
1
Flûte et Guitare
1
Flûte, Saxophone (duo)
1
Flûte, Basson et Piano
1
Saxophone et Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
2 Flûte à bec (duo)
1
+ 52 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
43
Trompette (partie séparée)
41
Trombone (partie séparée)
30
Trompette
25
Trombone
16
Tuba (partie séparée)
10
Quatuor de Cuivres : 2 trompettes, trombone, tuba
10
Cor (partie séparée)
10
Trombone et Piano
9
Cor
8
Tuba
5
Trompette, Piano
5
Ensemble de Trombones
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Euphonium
3
Trompette, Trombone (duo)
3
2 Trompettes (duo)
3
Tuba et Piano
3
Cor et Piano
2
Trompette, Saxophone (duo)
2
2 Trombones (duo)
2
Quatuor de Cuivres
2
2 Euphoniums et 2 Tubas
2
Cor anglais, Piano
1
Euphonium, Piano (duo)
1
2 Cors (duo)
1
Ensemble de Tubas
1
Ensemble de Cors
1
Trombone et orchestre
1
Quatuor de cuivres: 4 trombones
1
Quatuor de cuivres: 4 trompettes
1
+ 26 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
148
Violon
35
Alto (partie séparée)
28
Violon, Violoncelle (duo)
27
Violoncelle
27
Violon et Piano
23
Violon (partie séparée)
23
Violoncelle, Piano
17
Trio à Cordes: violon, alto, violoncelle
14
Alto seul
14
Alto, Piano
11
Harpe
10
Contrebasse (partie séparée)
7
2 Violons (duo)
6
Violoncelle (partie séparée)
5
2 Violoncelles (duo)
4
4 Violoncelles
4
Contre Basse
4
Trio à Cordes: 2 violons, violoncelle
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
Alto, Violoncelle (duo)
2
Violon, Alto (duo)
2
2 Altos (duo)
2
Trio à Cordes: 3 violoncelles
1
+ 19 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
187
Fanfare
82
Orchestre
51
Ensemble de cuivres
43
Orchestre à Cordes
39
Ensemble Jazz
27
Cloches
21
Percussion (partie séparée)
17
Batterie (partie séparée)
8
Orchestre de chambre
7
Batterie
6
Ensemble de Percussions
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Jazz combo
4
Quintette de Cuivres: autres combinaisons
3
Marimba
2
Timbales (partie séparée)
2
Xylophone
2
Orchestre, Violon
1
Vibraphone
1
+ 15 instrumentations
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Max S
Ensemble de Flûtes
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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
#
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
Shadowlands: A Journey for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
#
Contemporain
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Phyllis Avidan Louke, ASCAP
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Phyllis Avidan Louke, ASCAP
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Shadowlands: A Journey for Flu
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Louke Publishing
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.736288 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 38 pages. Louke Publishing #43671...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.736288 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 38 pages. Louke Publishing #4367130. Published by Louke Publishing (A0.736288). Shadowlands: A JourneyBy Phyllis Avidan Louke, ASCAP PROGRAM NOTES:Shadowlands: A Journey is a programmatic work in three movements for Flute Choir written in memory of the composer’s uncle who died from cancer. Movement One (Out of the Darkness), written in a minor key, contains a plaintive melody conveying sadness which later transforms to hope. Movement Two (Into the Shadows) begins with a beautiful bass and alto flute duet written in quartal harmony. The melody is introspective, yet, in conjunction with syncopated chords by 4ths, keeps moving the listener forward toward a climax of resignation. Movement Three (Moving Toward the Light), written in a major key, conveys a feeling of hope and peace, ends with a touching chorale which extensively utilizes chords with added seconds. Scored for piccolo, 3 flutes, alto flute, and bass flute, and opt. contrabass flute (doubling bass flute part) Phyllis Avidan Louke is a flutist and award-winning composer and arranger with more than 70 published pieces to her credit. www.phyllislouke.com  Â
$17.00
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