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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
Sonata in E
Sheetmusicplus
Non classifié
179
Piano & claviers
Piano seul
229
Orgue
8
Piano Facile
7
Instruments en Do
4
1 Piano, 4 mains
4
2 Pianos, 4 mains
4
Piano Trio: piano, violon, violoncelle
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano, Voix
2
Clavecin
1
Orgue, Trompette (duo)
1
+ 6 instrumentations
Retracter
Guitares
Guitare
46
Guitare notes et tablatures
18
2 Guitares (duo)
6
Banjo
2
4 Guitares (Quatuor)
2
Piano, Guitare (duo)
1
Orchestre à Plectres
1
2 Mandolines (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
Mandoline
1
+ 5 instrumentations
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Voix
Chorale SATB
3
Vents
Flûte traversière et Piano
40
Clarinette et Piano
26
Hautbois, Piano (duo)
20
Saxophone Alto et Piano
18
2 Flûtes traversières (duo)
15
Flûte et Guitare
13
Quintette de Clarinette: Clarinette, Quatuor à Cordes
9
Flûte, Hautbois, Clarinette (trio)
8
2 Clarinettes (duo)
8
2 Saxophones (duo)
8
Saxophone Soprano et Piano
8
Saxophone Tenor et Piano
6
Flûte traversière
6
Saxophone Baryton, Piano
6
Ensemble de Clarinettes
5
Quintette de Clarinettes: 5 clarinettes
5
3 Saxophones (trio)
4
Flûte traversière, Basse continue
4
Quatuor de Clarinettes: 4 clarinettes
4
Clarinette
4
Clarinette (partie séparée)
4
Clarinette Basse, Piano
4
Trio de Flûtes: 3 flûtes
3
Hautbois (partie séparée)
3
Ensemble de Flûtes
3
Saxophone (partie séparée)
2
Flûte, Hautbois, Clarinette, Basson
2
Saxophone Alto
2
3 Clarinettes (trio)
2
2 Hautbois (duo)
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Flûte, Violon
2
Quatuor de Flûtes : 4 flûtes
2
Quatuor de Saxophones: 4 saxophones
2
Cor anglais, Piano
2
2 Cors Anglais Et Pianoforte
1
Flûte à bec Alto, Basse continue
1
2 Flûtes traversières, Piano
1
Flûte à bec Alto, Piano
1
Clarinette, Guitare (duo)
1
Flûte, Violon et Violoncelle
1
Quintette de Flûte : 5 flûtes
1
Hautbois, Guitare (duo)
1
Clarinette, Violon (duo)
1
Flûte à Bec
1
Ensemble à vent
1
Flûte, Clarinette (duo)
1
+ 42 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
11
Trombone et Piano
11
Cor et Piano
7
Euphonium, Piano (duo)
6
Tuba et Piano
6
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5
Trompette
5
Cor
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
2 Trompettes (duo)
4
2 Trombones (duo)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trompette, Trombone (duo)
2
Tuba
2
Cor anglais, Piano
2
Quatuor de Cuivres
1
2 Cors Anglais Et Pianoforte
1
Cor (partie séparée)
1
2 Cors (duo)
1
Trombone (partie séparée)
1
Tuba (partie séparée)
1
Trombone basse et Piano
1
Trompette, Piano
1
2 Euphoniums (duo)
1
2 Tubas (duo)
1
Ensemble de Cors
1
+ 21 instrumentations
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Cordes
Violon et Piano
55
Quatuor à cordes: 2 violons, alto, violoncelle
48
Violoncelle, Piano
30
Alto, Piano
27
Violon (partie séparée)
14
2 Violons (duo)
8
Harpe
7
Alto (partie séparée)
7
Violon, Alto (duo)
6
Violoncelle (partie séparée)
6
Violoncelle
5
2 Violoncelles (duo)
5
Contrebasse (partie séparée)
5
Violon
4
Trio à Cordes: violon, alto, violoncelle
4
4 Violoncelles
4
Alto seul
2
Violoncelle, Basse continue
2
Contrebasse, Piano (duo)
2
2 Altos (duo)
2
Trio à Cordes: 3 violoncelles
1
Contre Basse
1
2 Violons, Piano
1
Trio à Cordes: 2 violons, violoncelle
1
Alto, Violoncelle (duo)
1
2 Contrebasses (duo)
1
Violon, Violoncelle (duo)
1
Violon, Basse continue
1
Violoncelle , Guitare (duo)
1
Violon, Guitare (duo)
1
Violoncelle, Orchestre
1
+ 26 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
30
Orchestre à Cordes
24
Orchestre
11
Orchestre d'harmonie
10
Marimba
1
Ensemble de cuivres
1
Percussion (partie séparée)
1
+ 2 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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CORNET
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LIVRES
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MANDOLINE
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Vous avez sélectionné:
Sonata in E
SheetMusicPlus
Partitions à imprimer
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Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
#
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
Hamburger Sonata H564
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Ensemble de Flûtes
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Carl Philipp Emanuel Bach
#
Myrick Crampton
#
Hamburger Sonata H564
#
MDC Music LLC
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 4 - SKU: A0.1456165 Composed by Carl Philipp Emanuel Bach. Arranged by Myrick Crampton. Baro...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 4 - SKU: A0.1456165 Composed by Carl Philipp Emanuel Bach. Arranged by Myrick Crampton. Baroque,Chamber,Classical. 46 pages. MDC Music LLC #1035316. Published by MDC Music LLC (A0.1456165). The Hamburger Sonata is a wonderful example of C.P.E Bach’s empfindsamer Stil (sensitive style). Written in 1786, it emphasizes dramatic and emotional depth and is a joy to play. This arrangement substitutes a flute choir for the continuo.Arrangement (Solo Flute, F1, AF2-3. BF4. CBF 5)About 8’ minutes.
$19.99
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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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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Sonata in E
