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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
notation
Non classifié
2 372
Piano & claviers
Piano Facile
1 411
Piano seul
585
Piano, Voix
236
Instruments en Do
217
Piano, Voix et Guitare
78
Accompagnement Piano
31
Accordéon
26
Orgue
20
1 Piano, 4 mains
18
2 Pianos, 4 mains
15
Piano Trio: piano, violon, violoncelle
6
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano Quatuor: piano, violon, alto, violoncelle
4
Piano (partie séparée)
2
Clavier
1
2 Pianos, 8 mains
1
Ensemble d'Accordéons
1
Piano grosses notes
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Clavecin
1
Orgue, Piano (duo)
1
+ 16 instrumentations
Retracter
Guitares
Guitare notes et tablatures
3 128
Guitare
983
Basse electrique
473
Mandoline
344
Ukulele
320
Dulcimer
191
2 Guitares (duo)
149
Ukulele Baryton
86
Ligne De Mélodie, (Paroles) et Accords
33
Banjo
25
3 Guitares (trio)
12
Piano, Guitare (duo)
10
Mandoline, Piano (duo)
10
Paroles et Accords
8
Ensemble de guitares
8
2 Dulcimers (duo)
5
2 Ukuleles
5
Guitare (partie séparée)
4
4 Guitares (Quatuor)
3
2 Mandolines (duo)
3
Guitare Pedal Steel
3
Dobro
2
Cithare
1
Ensemble de Ukulélés
1
Mandoline, Guitare (duo)
1
Guitare, Violon, Violoncelle (trio)
1
+ 21 instrumentations
Retracter
Voix
Chorale SATB
83
Chorale 3 parties
55
Chorale SSAA
38
Chorale 2 parties
38
Chorale TTBB
27
Chorale Unison
7
Voix duo
5
Voix Alto, Piano
3
Voix moyenne, Piano
3
Voix Soprano, Piano
2
Voix, Guitare
1
Chorale SSATTB
1
Voix duo, Piano
1
Voix seule
1
+ 9 instrumentations
Retracter
Vents
Ocarina
280
Flûte à bec Soprano
276
Harmonica
208
Flûte à bec Alto
194
Flûte et Guitare
164
2 Saxophones (duo)
143
Flûte traversière
125
Quatuor de Saxophones: 4 saxophones
102
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
89
Flûte, Hautbois, Clarinette, Basson
79
Clarinette
75
Quintette de Saxophone: 5 saxophones
73
Saxophone Alto
65
Flûte traversière et Piano
61
Saxophone Tenor
57
Hautbois, Piano (duo)
50
Clarinette et Piano
49
Hautbois (partie séparée)
47
Hautbois
44
Saxophone (partie séparée)
44
Saxophone Alto et Piano
43
Saxophone Tenor et Piano
42
Saxophone Soprano et Piano
36
Flûte à bec Alto, Piano
36
2 Flûte à bec (duo)
35
2 Clarinettes (duo)
35
2 Flûtes traversières (duo)
34
Saxophone Baryton, Piano
30
2 Hautbois (duo)
30
Saxophone
19
Saxophone Baryton
18
3 Saxophones (trio)
15
Flûte, Clarinette (duo)
15
Ensemble De Flûte à bec
14
Saxophone Soprano
13
Flûte à Bec
13
Flûte, Hautbois, Clarinette (trio)
10
Hautbois, Clarinette (duo)
9
Flûte, Hautbois (duo)
9
Quatuor de Flûtes à bec
9
Clarinette, Basson (duo)
8
3 Clarinettes (trio)
7
Hautbois, Violoncelle
6
Trio de Flûtes: 3 flûtes
5
Flûte à bec Tenor
4
Quatuor de Flûtes : 4 flûtes
4
Hautbois, Guitare (duo)
4
Cor Anglais
4
Clarinette, Violoncelle (duo)
4
Flûte irlandaise
4
Ensemble de Clarinettes
4
Hautbois, Basson (duo)
4
Flûte, Violoncelle
4
2 Saxophones, Piano
4
Saxophone et Guitare
4
Flûte, Clarinette et Basson
4
Clarinette (partie séparée)
3
Quatuor de Clarinettes: 4 clarinettes
3
Flûte, Violon
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Flute (partie séparée)
3
Flûte, Hautbois, Basson
2
Ensemble de saxophones
2
Hautbois, Basson et Piano
2
Ensemble de Flûtes
2
Clarinette, Guitare (duo)
2
Flûte, Clarinette, Piano (trio)
1
Clarinette, Basson, Piano (trio)
1
Hautbois, Clarinette et Piano (Trio)
1
3 Hautbois
1
Cor anglais, Piano
1
Hautbois et alto (duo)
1
Clarinette et Alto
1
Flûte à bec, Guitare (duo)
1
Flûte à bec Soprano, Piano
1
Flute, harpe et violon
1
Flûte, Alto (duo)
1
Hautbois, violon (duo)
1
Flûte, Basson et Piano
1
Clarinette, Contrebasse (duo)
1
2 Flûtes à bec, Piano
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Clarinette, Violon (duo)
1
+ 79 instrumentations
Retracter
Cuivres
Cor
82
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
80
Trombone
72
Trompette
70
Cor et Piano
69
Quatuor de Cuivres: 2 trompettes, Cor, trombone
56
Tuba
48
Trompette, Piano
46
Tuba et Piano
45
Trombone et Piano
44
2 Trombones (duo)
36
Quatuor de Cuivres : 2 trompettes, trombone, tuba
33
2 Cors (duo)
32
2 Trompettes (duo)
32
2 Tubas (duo)
19
Trompette, Trombone (duo)
14
Trompette, Cor (duo)
10
Trompette et Guitare
8
Trombone (partie séparée)
7
3 Trombones (trio)
5
Cor Anglais
4
2 Euphoniums et 2 Tubas
4
Trompette (partie séparée)
4
Quatuor de Cuivres
3
Trompette, Violoncelle (duo)
3
Trompette, Basson (duo)
3
Tuba (partie séparée)
2
Cor, Violoncelle (duo)
2
Quatuor de cuivres: 4 trombones
2
4 Tubas
2
Cor (partie séparée)
2
Trombone, Tuba (duo)
2
Tuba et Orgue
2
Trompette, Tuba (duo)
2
Trompette, violon (duo)
1
Ensemble de Trombones
1
Trompette, Saxophone (duo)
1
Cor anglais, Piano
1
Trio de Cuivres
1
Euphonium, Piano (duo)
1
Cor, Tuba (duo)
1
Euphonium
1
Quatuor de cuivres: 4 cors
1
Trombone basse
1
3 Trompettes (trio)
1
3 Cors (trio)
1
+ 41 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
138
Violoncelle
126
Violon
104
Alto seul
87
Quintette à cordes: 2 violons, alto, violoncelle, basse
77
Contre Basse
73
Violon et Piano
69
Violoncelle, Piano
59
Alto, Piano
46
Contrebasse, Piano (duo)
40
Violon, Guitare (duo)
40
2 Violons (duo)
38
2 Altos (duo)
36
2 Violoncelles (duo)
34
Harpe
30
Violon, Violoncelle (duo)
29
Violon, Alto (duo)
20
2 Contrebasses (duo)
19
Trio à Cordes: violon, alto, violoncelle
15
Violoncelle , Guitare (duo)
12
Harpe et mandoline
9
Violon, Basson (duo)
7
Alto (partie séparée)
7
Alto, Violoncelle (duo)
5
Trio à cordes: 3 violins
4
Trio à Cordes: 2 violons, violoncelle
4
Autoharp
3
Trio à Cordes: 3 violoncelles
3
Alto, Guitare (duo)
3
Piano Trio: Violon, Alto, Piano
3
Violon, Basse continue
2
Trio à cordes: 3 altos
2
Alto et Basson
2
Contrebasse (partie séparée)
2
Harpe, Violon (duo)
2
Harpe, Trombone (duo)
2
Harpe, Violon, Violoncelle
2
4 Violoncelles
2
Violon, Violoncelle, Clarinette
2
Harpe, Violoncelle (duo)
1
Quatuor à cordes: 4 violons
1
2 Violons et Basse continue
1
Harpe, Voix
1
Flûte, Contrebasse (duo)
1
2 Violoncelles, Piano
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violoncelle, Contrebasse (duo)
1
Harpe, Flûte (duo)
1
Harpe, Quatuor à cordes
1
+ 44 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
41
Orchestre à Cordes
32
Ensemble Jazz
29
Batterie
23
Orchestre
18
Ensemble de Percussions
16
Ensemble de cuivres
9
Cloches
8
Orchestre de chambre
8
Jazz combo
7
Percussion
5
2 Xylophones
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Xylophone
3
Vibraphone
3
Xylophone, Piano
3
Batterie (partie séparée)
2
Bongos
2
Fanfare
1
Conga
1
Caisse Claire
1
+ 16 instrumentations
Retracter
Autres
Formation musicale - Solfège
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Instruments
ACCORDEON
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AUTRES INST…
BALALAIKA
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BUGLE
CHANT - CHO…
CHARANGO
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CLAIRON
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CLOCHES
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COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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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
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METHODE : ETUDES
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NOËL
OLD TIME - EARLY ROC…
OPERA
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POP ROCK - POP MUSIC
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PUNK
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Ensemble de Flûtes
Partitions à imprimer
2 partitions trouvées
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Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
#
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
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
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