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D.H.T
FLUTE
Sheetmusic to print
29 sheet music found
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1
26
6 Flute Sonatas, Opus 2 - No. 3 «La D'Hérouville» I. Adagio
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Flute
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INTERMEDIATE
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Classical
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Michel Blavet
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6 Sonates mêlées de pièces
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Tomplay
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4.99€
6 Flute Sonatas, Opus 2 - No. 3 «La D'Hérouville» V. Giga
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Flute
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INTERMEDIATE
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Classical
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Michel Blavet
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6 Sonates mêlées de pièces
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Tomplay
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4.99€
6 Flute Sonatas, Opus 2 - No. 3 «La D'Hérouville» III. Rondeau
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Flute
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INTERMEDIATE
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Classical
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Michel Blavet
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6 Sonates mêlées de pièces
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Tomplay
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5.99€
6 Flute Sonatas, Opus 2 - No. 3 «La D'Hérouville» II. Allemanda
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Flute
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INTERMEDIATE
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Classical
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Michel Blavet
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6 Sonates mêlées de pièces
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Tomplay
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5.99€
6 Flute Sonatas, Opus 2 - No. 3 «La D'Hérouville» IV. Presto
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Flute
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INTERMEDIATE
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Classical
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Michel Blavet
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6 Sonates mêlées de pièces
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Tomplay
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4.99€
Harold in Italy, H 68 - III. Serenade of an Abruzzi-mountaineer to his sweetheart
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Flute
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EASY
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Classical
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Gabriel Pierre Berlioz
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Harold en Italie, H 68
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Tomplay
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2.99€
PLAISIR D’AMOUR - FLUTE QUARTET
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Flute Quartet: 4 flutes
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EASY
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G
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BRIAN W
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PLAISIR D’AMOUR - FLUTE QUAR
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EMK Music
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SheetMusicPlus
Flute Quartet,Woodwind Ensemble Alto Flute - Level 2 - Digital Download SKU: A0.1452831 Composed by G. B. Martini. Arranged by BRIAN W. COPPING. Chamber,...
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Flute Quartet,Woodwind Ensemble Alto Flute - Level 2 - Digital Download SKU: A0.1452831 Composed by G. B. Martini. Arranged by BRIAN W. COPPING. Chamber,Contest,Festival,Pop,Wedding. 18 pages. EMK Music #1032112. Published by EMK Music (A0.1452831). Scored for 4 Concert Flutes, there is an optional Alto Flute part.‘Plaisir D’Amour’, ‘The Pleasure of Love’, was written by G. H. Martini in 1784. It has remained extremely popular inspiring contemporary versions like Elvis Presley’s ‘Can’t Help Falling in Love’ and many recordings by well-known artists like Paul Robeson, Nana Mouskouri and Charles Aznavour.
$14.00
Te Deum, H. 146 - Prelude (Beginner Level)
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Flute
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BEGINNER
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Classical
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Marc Antoine Charpentier
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Te Deum, H. 146
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Tomplay
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5.99€
Marche de triomphe et air, H. 547 (March of Triumph)
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Flute
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INTERMEDIATE
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Classical
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Marc Antoine Charpentier
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Marche de triomphe et air, H.
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Tomplay
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2.99€
Water Music: Suite No. 2 in D Major, HWV 349 - XII. Alla Hornpipe
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Flute
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EASY
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Classical
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George Frideric Friedrich Hand
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Water Music
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Tomplay
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1.99€
Variations on hélas madame for flute quartet (mp3)
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Flute Quartet: 4 flutes
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INTERMEDIATE/ADVANCED
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Contemporary
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Budapest Scoring
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David Warin Solomons
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Variations on hélas madame fo
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David Warin Solomons
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SheetMusicPlus
Level 4 - Digital Download SKU: A0.1136040 By Budapest Scoring. By King Henry VIII (attrib.). Arranged by David Warin Solomons. Classical,Contemporary. F...
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Level 4 - Digital Download SKU: A0.1136040 By Budapest Scoring. By King Henry VIII (attrib.). Arranged by David Warin Solomons. Classical,Contemporary. Full Performance. Duration 144. David Warin Solomons #736065. Published by David Warin Solomons (A0.1136040). Hélas madame is attributed to King Henry VIII. It is part of a secular collection, found on a manuscript that was used in Henry's court. The originality of the song has been questioned, with various parts of the song allegedly taken from similar pieces in Europe. The song itself is a courtship conversation in Middle French between a man and woman. Hélas madame, celle que j’ayme tant: Souffrez que soye vostre humble servant; Vostre humble servant je serays a toujours Et tant que je viv’ray aultr’ n’aymeray que vous. Hélas, beau sire, vous estez bel et bon, Sage et courtoys et de noble maison, Et aussi bon que l’on scairoit finer, Mais cil que j’ayme, ne scairoye oublier. Hellas, ma dame, pences en vostre cas: Entre nous deulx ne fault point d’avocatz. Certes non pas, et vous le scavez bien. Allez vous en, car vous ne faictez rien. Mon cueur souspire et se plaint tendrement, Quant il ne peult trouver allegement. Ne scay comment on me veult dechasser; S’il est ainsi, j’ayray ailleurs chasser. Hellas, ma dame, et n’en seray-je point? Certes beau sire, je ne le vous dis point. Servez a point: il vous sera mery. Hellas, ma dame, de bon cueur vous mercy. Alas my lady, whom I do so love: Suffer me to be your humble servant; Your humble servant I shall always be. And while I live, I'll love none else but you. Alas, fair sir, you are good and kind, Wise and courteous and from a noble house, And as good as one could find, But I can't forget the one I love. Alas my lady, think upon your case: Between us two, no need for advocate. Certainly not, and you know it well. Be gone, for you are doing nothing. My heart sighs and tenderly complains, When it cannot find relief. I know not how it wants me to woo; If it is so, I'll go wooing elsewhere. Alas my lady, and shall I not? Certainly, fair sir, I have not said so. Behave rightly and you will be rewarded. Alas my lady, from my whole heart, thank you. Performed by Anita Szabó Ildikó Szabady Iza Nagy Boglárka Dávid.
$4.50
The Lively Bard
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Flute, harp and violin
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INTERMEDIATE
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Celtic/Irish
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Folkloric/Traditional
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Darhon Rees-Rohrbacher
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The Lively Bard
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Afghan Press Music for the Harp
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SheetMusicPlus
Small Ensemble Flute,Harp,Violin - Level 3 - Digital Download SKU: A0.797295 Arranged by Darhon Rees-Rohrbacher. Celtic,Folk. Score and parts. 66 pages. ...
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Small Ensemble Flute,Harp,Violin - Level 3 - Digital Download SKU: A0.797295 Arranged by Darhon Rees-Rohrbacher. Celtic,Folk. Score and parts. 66 pages. Afghan Press Music for the Harp #4800694. Published by Afghan Press Music for the Harp (A0.797295). Welsh airs used in this publication were collected by Edward Jones (1751-1824), harper to King George IV. Jones was a prolific collector and arranger of melodies and is best remembered for his three-volume work called Musical and Poetical Relicks of the Welsh Bards (1784-1802). The order of the music facilitates playing 2-4 tunes in succession as a Welsh medley. All tunes were typeset to fit exactly on two facing pages to eliminate any page turns within a piece. Some melodies were transposed from their original keys to better suit the range of the flute. Tunes may be taken up the octave where desired, such as on repeated sections. The harp range needed to play all of the accompaniments in this collection exactly as written is only 26 strings (C-G). There are no lever changes within pieces in this entire collection, only lever pre-sets. Table of Contents: Cnott y Coed (The Wood-Bunch), Tros y Garreg (Over the Rock), Crisial Ground (The Crystal Ground), Blodau y’ Gorllewin (Flowers of the West), Ffarwel Dic Bibydd (Dick the Piper’s Farewell), Agoriad Cywair (The Opening of the Key),Trichant o Bunnau (Three Hundred Pounds), Y Gŵr a’i Farch (The Man and His Horse), Mopsi Dôn: yr Hên Fford (Mopsy’s Tune: The Old Way), Yr Hên Rogero Bengoch (Old Roger Red Poll), Mwynen Machno (The Enjoyment of Machno), Tlysig (The Beauty), Cymro o B’le? (A Welshman from Where?), Troiad y Droell (Turning of the Spinning Wheel), Y Tŷ Trwy’r Ffenest (The House through the Window), Cudyn Gwyn (White Lock of Hair), Blodeu Gwynedd (Flowers of Gwynedd), Hela’r Ysgyfarnog (Hunting the Hare), Blodeu’r Grùg (Blooms of the Heather), Y Derwydd (The Druid) .
$25.00
Flûte en suite
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Flute and Piano
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ADVANCED
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Joerg Widmann
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Flûte en suite
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Schott Music - Digital
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SheetMusicPlus
Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano ...
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Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027). This ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights – acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg WidmannThis ‚Suite’ is not one of my ‘epic’ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) · 3 (2. auch Ob. d’am., 3. auch Engl. Hr.) · 0 · 3 (3. auch Kfg.) - 4 · 4 · 3 · 1 - S. (Glsp. · Vibr. · 3 hg. Beck. [h./m./t.] · chin. Beck. · 4 Gongs · 4 Buckelgongs · 2 Tamt. [m./t.] · Wassertamt. · gr. Tr. · Metal Chimes · Peitsche) (2 Spieler) - Hfe. · Cel. (auch Cemb.) - Str. (10 · 8 · 6 · 4 · 3).
$55.99
Wind Quintet - One Rule
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Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
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ADVANCED
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Mike Lyons
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Wind Quintet - One Rule
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Serv...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - Digital Download SKU: A0.767553 Composed by Mike Lyons. Contemporary,Standards. 56 pages. Lyons Music Services #5827839. Published by Lyons Music Services (A0.767553). This brand-new piece for wind quintet came about through the coronavirus lockdown and my observations of our UK politicians and how they behaved (One rule for them...) In terms of the music, each line is related to other lines through patterns of 5, 7 or 9 beats (or half beats). Each repetition of the pattern starts with all the instruments in that particular group playing on the first beat. As the music progresses and develops, motifs appear out of the combinations of these beats with each other. Gradually, these patterns and motifs develop melodies which then form the backbone of the piece. The first section (I hesitate to use the term movement) labelled Plotting develops a character of wiliness. It represents, in its twisting strands, the plotting of politicians to aggrandise themselves. The bottom 3 parts form an 'undercurrent' to the music as the 5,7 and 9 beat counts overlap and process. The flute and oboe, meanwhile, generate the first melodic strand - which becomes important in the later movements. The opening quaver patterns are passed around the whole ensemble, keeping the rhythmic pulse going. It slips between the anchoring notes of the lower 3 parts, as well as being essential to the development of the flute and oboe melodic material and stopping the bassoon part being too boring! The long winding, rising and falling line on the oboe and flute is deliberately ambiguous in its tonality, leading one to feel it strives upwards, but then loses its way. The frequent dissonances as this line crosses itself in the other parts represents the effect of all the plotting on ordinary people. Before letter B, there are a couple of brief hints of Dies Irae, but I didn’t want that idea to dominate too much. After B and into C, we get the day-to-day chitchat in Westminster, with interjections from many voices proclaiming their message, trying to persuade their colleagues and just leading to confusion and tonal extremism. From letter C to the end of the section is an extended accel/stretto as the discussion gets more heated. Section 2 is titled Scheming. The tempo is faster than the previous section, but the pace is slower. More motives have formed and developed organically out of the rhythm and pitch patterns. The 5/7/9 cross rhythms are now at double speed, giving a fiercer drive to the music. The bassoon and horn, for now, adhere to the longer pulse of the first section, providing something of a harmonic underpinning. At bar 101, the long but now slightly broken narrative line of the first movement returns in modified form. This now provides a backdrop for the rhythmic bartering and ‘back and forth’ of the political day. The section reaches a climax as the political bickering becomes rowdier. Section 3 begins in a relatively happy mood. The bassoon has a jolly capering little motif, later taken up by other members of the ensemble. There are hints of English folk tune-ness in the resulting conversation, perhaps emphasised by the overlays of this pleasant melody from letter D. Letter E is a ‘turning point’ as all the rhythmic pulses finally align again. This is the first time all five parts have played on the same beat since the opening. At Letter G, a pulsing drone is added to the mix, using the quaver version of the pulse. Perhaps representing the soring of politicians. There is a parallel drone added at letter H, these drones use the 5 (bassoon) and 7 (horn) beat pulses. The result is a solid underpinning of the rhythmic and melodic ideas in the upper 3 parts. After letter I comes a reprise of the spritely bassoon motif with dissonant harmonies as the discussion becomes more heated. The little semiquaver figures have the rhythm Mr. Speaker as members of the house shout for attention. In the repeat bars, we hear the Speaker shout Order! Letter J provides an altered reprise of the begi.
$35.00
Polonaise No. 6, Opus 53 « Heroic »
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Flute
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INTERMEDIATE
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Classical
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Chopin
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Polonaise n° 6, Opus 53 « HÃ
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Tomplay
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2.99€
Ten Little Classical Pieces for Learning the Flute, Beginner, Vol. 1
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Flute
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BEGINNER
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Classical
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Albinoni,Beethoven,Bizet,Charp
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Dix petits morceaux classiques
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Tomplay
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31.99€
The most beautiful opera arias to play on the flute, Advanced, Vol. 1
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Flute
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ADVANCED
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Classical
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Opera
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Bizet,Donizetti,Händel,Mozart
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Les plus beaux airs d'opéra Ã
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Tomplay
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19.99€
Hänsel und Gretel - Brother, Come and Dance with Me
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Flute
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EASY
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Classical
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Engelbert Humperdinck
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Hansel et Gretel
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Tomplay
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2.99€
Sarabande
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Flute
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EASY
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Classical
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George Frideric Friedrich Hand
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Sarabande
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Tomplay
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3.99€
Rinaldo - Lascia ch'io pianga
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Flute
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EASY
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Classical
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George Frideric Friedrich Hand
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Rinaldo
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Tomplay
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3.99€
Theodora, HWV 68 - As With Rosy Steps the Morn (Intermediate Level)
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Flute
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INTERMEDIATE
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Classical
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George Frideric Friedrich Hand
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Theodora, HWV 68
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Tomplay
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7.99€
Suite No. 5 in E major, HWV 430 - IV. The Harmonious Blacksmith
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Flute
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ADVANCED
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Classical
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George Frideric Friedrich Hand
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Suite n° 5 en mi majeur, HWV
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Tomplay
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2.99€
Oboe Concerto No. 3 in G minor, HWV 287 - III. Sarabande. Largo (Adapted for flute)
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Flute
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INTERMEDIATE
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Classical
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George Frideric Friedrich Hand
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Concerto pour hautbois n° 3 e
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Tomplay
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2.99€
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