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AUTRES
Vous avez sélectionné:
Space Man
Ensemble de Flûtes
Partitions à imprimer
4 partitions trouvées
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Star Trek: Picard Main Title for flute choir / flute ensemble
Ensemble de Flûtes
By jeff russo. Arranged by a " do Ray me " flute studio production, Ray-Michael Kauffma…
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By jeff russo. Arranged by a " do Ray me " flute studio production, Ray-Michael Kauffman. Individual Part, Lead Sheet, Piano Reduction, Score, Set of Parts, Solo Part. 23 pages. Published by a " do Ray me " flute studio production
Picard; Main theme (from the Star Trek tv show : Picard) arranged for flute choir / ensemble by me, Ray-Michael Kauffman. Great shorter piece , for themed programs, such as Tv music, 21st century music, Popular music, Space themes, etc. Scored for piccolo (with optional piccolo 2nd picc) 1st fl, 2nd fl, 3rd fl *sub divides*, 4th fl, 5th fl, G alto fl, bass fl, and optional contra bass flute.
$14.99
13.59 €
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Ensemble de Flûtes
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jeff russo
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Star Trek: Picard Main Title for flute choir / flute ensemble
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a " do Ray me " flute studio production
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SheetMusicPlus
Cats On Mars
Ensemble de Flûtes
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 2 - Digi…
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 2 - Digital Download SKU: A0.1436112 By Gabriela Robin. By Gabriela Robin and Yoko Kanno. Arranged by John Ivor Holland. 20th Century,Film/TV,Jazz,Multicultural,Pop,World. 14 pages. John Ivor Holland #1016270. Published by John Ivor Holland (A0.1436112). 'Cowboy Bebop' is a Japanese neo-noir space anime television series which aired from 1998 to 1999. Running for twenty-six episodes, is set in the year 2071, and follows the lives of a travelling bounty-hunting crew aboard a spaceship, the Bebop. The series was accompanied by a number of soundtrack albums composed by Yoko Kanno and Seatbelts, a diverse band formed to create the music with a principal focus on jazz. Cats on Mars (principally recognisable as the background music to many an internet meme) features a cheery melody that some have likened to Debussy's 'Girl with the Flaxen Hair'. A word of warning, this tune will probably stay in your head for a very long time! (Percussion is shown in score and parts provided but all are optional).
$29.99
27.19 €
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Ensemble de Flûtes
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Gabriela Robin
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John Ivor Holland
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Cats On Mars
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John Ivor Holland
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Ensemble de Flûtes
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gab…
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Woodwind Ensemble Flute - Level 3 - Digital Download 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
43.48 €
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Ensemble de Flûtes
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Ensemble de Flûtes
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gab…
(+)
Woodwind Ensemble Flute - Level 3 - Digital Download 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
43.48 €
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Ensemble de Flûtes
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Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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jmsgu3
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SheetMusicPlus
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