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Called to Serve
Flute and Piano
Instrumental Duet,Piano Flute,Instrumental Duet,Piano - Level 1 - Digital Download SKU:…
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano - Level 1 - Digital Download SKU: A0.877920 Composed by Adam Geibel and Grace Gordon. Arranged by Rebecca Bogardus. Children,Christian,Sacred,Standards. Score and parts. 3 pages. Lillwy Publishing #4109529. Published by Lillwy Publishing (A0.877920). This arrangement is part of the Primary Band Companion for LDS artists. These flexible arrangements are designed for flute students who are in their first year of a band method and include: 1. Solo Flute: this part is the melody of a familiar primary song or hymn. 2. Optional Flute 2: this duet part is optional. The duet part is at roughly the same level as the solo, so two beginning flutists may easily play a duet in church. 3. Accompaniment Piano for Solo or Duet: This part may accompany either the first flute for a solo or both flutes playing a duet. It would also be appropriate while someone sings the melody. It is my hope that these arrangements will enable young flutists to begin sharing their musical talents in the first few months of study. More information about this series may be found at www.studiobogardus.com/arrangements.html.
$3.99
3.69 €
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Flute and Piano
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Adam Geibel and Grace Gordon
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Called to Serve
#
Lillwy Publishing
#
SheetMusicPlus
Bach: Wachet auf for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549847 Composed by Johann Sebastia…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549847 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3554865. Published by jmsgu3 (A0.549847). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings, or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer. Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.
$24.95
23.05 €
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Flute and Piano
#
Johann Sebastian Bach
#
#
Bach: Wachet auf for Alto Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Bach: Wachet auf BWV 140 for Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549839 Composed by Johann Sebastia…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549839 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3554485. Published by jmsgu3 (A0.549839). Wachet auf, ruft uns die Stimme (Awake, the voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 6 pages, solo part 1 page, piano part: 4 pages. Program this for church services during the Easter season, weddings,or as a recital encore.Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) also known as: Sleepers Awake Bach composed his church cantata Wachet auf (BWV 140) as part of his second annual cantata cycle covering the entire annual church calendar. It is based on the hymn of the same name by Philipp Nicolai (1599). The hymn text covers the readings for the 27th Sunday after Trinity. Bach designed the cantata in seven movements, setting the stanzas in various forms. Among these forms are the chorale fantasia, the chorale prelude, and a four-part chorale. He casts the new lyrics as recitatives – in a manner similar to the opera. Fourth Movement Bach writes the fourth movement, Zion hört die Wächter singen (Zion hears the watchmen singing), in the style of a chorale prelude with the chorale phrases performed as a strict cantus firmus. The phrases seem to enter at times erratically against the famous lyrical melody. The violins play this melody in unison as a foil against the cantus phrases. The violin melody is so independent and complete that when the cantus melody appears it catches the listener at times totally off-guard. Bach later transcribed this movement for organ (BWV 645). This transcription became No. 1 of the Six Schübler Chorales. Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. &nb.
$26.95
24.9 €
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Flute and Piano
#
Johann Sebastian Bach
#
Bach: Wachet auf BWV 140 for Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Schubert: Ave Maria for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 1 - Digital Download SKU: A0.548688 Composed by Franz Schubert.…
(+)
Flute,Piano - Level 1 - Digital Download SKU: A0.548688 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and part. 4 pages. Jmsgu3 #3411123. Published by jmsgu3 (A0.548688). An Alto Flute Christmas/Easter classic! Duration: 4:55 Score: 3 pg. Alto Flute part: 1 pg. Piano reads from the score. Schubert seems to have composed this piece as a song-setting. This is because he wanted to portray a poignant emotional event from a poem. The poem was Walter Scott's The Lady of the Lake. Consequently, this song became an integral part of Schubert's Song cycle. Therefore the cycle is called: the Lady of the Lake. In the poem, Ellen Douglas is the Lady of the Lake. The lake is probably Loch Katrine in the Scottish Highlands. First of all, Ellen goes with her father to stay in the Goblin's cave. They go because he earlier refused to join in a rebellion against King James. Roderick Dhu, the chief of the rebellious Alpine Clan, marches up the mountain with his army. But before the battle, he, first of all, hears Ellen singing. She is singing a prayer calling for help from the Virgin Mary. Schubert's piece was first performed at the castle of Countess Sophie Weissenwolff in Steyregg, Austria.  Schubert dedicated the arrangement to her, and as a result, she became famous as the lady of the lake.The incipit of Ellen's song is Ave Maria which is Latin for Hail Mary. It seems like this similarity led Schubert to adapt the melody to accommodate the Roman Catholic prayer Ave Maria. Consequently, the Latin version of Ave Maria finally became more famous than the original so that consequently many believe he wrote the Latin version first. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular.
$29.95
27.67 €
#
Flute and Piano
#
Franz Schubert
#
Schubert: Ave Maria for Alto Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Schubert: Ave Maria for Flute & Piano
Flute and Piano
Flute,Piano - Level 1 - Digital Download SKU: A0.548696 Composed by Franz Schubert.…
(+)
Flute,Piano - Level 1 - Digital Download SKU: A0.548696 Composed by Franz Schubert. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Standards. Score and part. 4 pages. Jmsgu3 #3411141. Published by jmsgu3 (A0.548696). A Flute Christmas/Easter classic! Duration: 4:55 Score: 3 pg. Flute part: 1 pg. Piano reads from the score. Schubert seems to have composed this piece as a song-setting. This is because he wanted to portray a poignant emotional event from a poem. The poem was Walter Scott's The Lady of the Lake. Consequently, this song became an integral part of Schubert's Song cycle. Therefore the cycle is called: the Lady of the Lake. In the poem, Ellen Douglas is the Lady of the Lake. The lake is probably Loch Katrine in the Scottish Highlands. First of all, Ellen goes with her father to stay in the Goblin's cave. They go because he earlier refused to join in a rebellion against King James. Roderick Dhu, the chief of the rebellious Alpine Clan, marches up the mountain with his army. But before the battle, he, first of all, hears Ellen singing. She is singing a prayer calling for help from the Virgin Mary. Schubert's piece was first performed at the castle of Countess Sophie Weissenwolff in Steyregg, Austria.  Schubert dedicated the arrangement to her, and as a result, she became famous as the lady of the lake.The incipit of Ellen's song is Ave Maria which is Latin for Hail Mary. It seems like this similarity led Schubert to adapt the melody to accommodate the Roman Catholic prayer Ave Maria. Consequently, the Latin version of Ave Maria finally became more famous than the original so that consequently many believe he wrote the Latin version first. Schubert Franz Schubert (1797–1828) was, in fact, a famous Austrian composer. Moreover, he composed during the late Classical and early Romantic periods. Schubert was comparatively prolific. He wrote more than 600 secular vocal works, seven symphonies, and, correspondingly, a massive amount of piano and chamber music. Critics agree, as a matter of fact, that his most famous works include his Piano Quintet in A major, D. 667 (also known as the Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the last sonatas for piano (D. 958–960), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911). Education Schubert was furthermore a musical child prodigy. He studied violin with his father as well as piano with his older brother. In addition, when Schubert was eleven he studied at Stadtkonvikt school, where he became familiar with the orchestral music of Haydn, Mozart, and likewise Beethoven. In due time he left school and returned home where he studied to become an educator; nevertheless, he continued studying composition with Antonio Salieri. Performance Eventually, Schubert was admitted to the Gesellschaft der Musikfreunde as a performer. This appointment straightaway established his name in Vienna as a composer and pianist. Finally, he gave his only composition recital in 1828. He died suddenly a few months later probably due to typhoid fever. Legacy Schubert’s music was by and large underappreciated while he was alive. There were all in all only a few enthusiasts in Vienna. After he died, however, interest in his work in fact increased. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, and other famous composers in due time discovered his compositions. Nowadays, historians rank Schubert expressly among the greatest composers of the era, and his music remains in general very popular. Â
$29.95
27.67 €
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Flute and Piano
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Franz Schubert
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Schubert: Ave Maria for Flute & Piano
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jmsgu3
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SheetMusicPlus
Friction
Flute and Piano
Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - Digital Download SKU: A0.1002844
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Small Ensemble Cello,Clarinet,Flute,Piano - Level 5 - Digital Download SKU: A0.1002844 Composed by Panayiotis Kokoras. Contemporary. Score and parts. With Moreover, electroacoustic techniques are modeled using acoustic instrumental means. To achieve that I make use conventional musical instruments, utilizing extended performance techniques (which I could call timbral techniques). As well, instruments couple. 37 pages. Panayiotis Kokoras #431113. Published by Panayiotis Kokoras (A0.1002844). Friction was composed at the beginning for the 8th International Academy for New Composition and Audio Art Avantgarde Schwaz 2000 (Tirol/ Austria), during the Summer 2000. The initial line up adjusted to the Academie’s ensemble in residence Het trio (Flute, Bass Clarinet, Piano) plus Alto Saxophone. Almost One year later I revised the piece and slightly changed the instrumentation, using Violoncello instead of Alto Sax. That gave to the piece more timbral variety with better balance as well as expressed better the work’s musical idea. The starting point of the work is the characteristics of Friction a real world sounding event, which then is abstracted and applied to form the idea for the compositional process. The work has three main sections. The first section is quite homophonic and harmonic; the middle one is inharmonic and energetic and works as crossfade to the last section, which is characterized as a more linear with repeated patterns. The transformation from one section to another is the most important and long part of the composition. It is a kind of transformation of the sound itself, a timbral exploration of the characteristics of the initial idea. Moreover, electroacoustic techniques are modeled using acoustic instrumental means. To achieve that I make use conventional musical instruments, utilizing extended performance techniques (which I could call timbral techniques). As well, instruments coupled with the use of unconventional objects treated as musical instruments or extensions of them (boxes, plastic or metal cards etc). That allows a better development, control and transformation of the sound. Friction was awarded the Second Prize at The Second Seoul International Competition for Composers in Seoul/ Korea and was Finalist at The Ensemble Eleven Young Composers Competition 2002 in Manchester/ United Kingdom. - Panayiotis Kokoras, York 2001-.
$20.00
18.48 €
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Flute and Piano
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Panayiotis Kokoras
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Friction
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Panayiotis Kokoras
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SheetMusicPlus
Sonata for Flute and Piano, Op. 12
Flute and Piano
Instrumental Duet Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.10…
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Instrumental Duet Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1021619 Composed by Tyler J. Holt. Concert,Contemporary,Standards. Score and parts. 43 pages. TJHoltMusic #6134009. Published by TJHoltMusic (A0.1021619). Sonata for Flute and Piano, Op. 12 was written for and is dedicated to my friend, Natalie Smith. This sonata conveys different moods using various styles in each of the movements, all of which take some liberty and, at times, are vague with form.The first movement, inspired by Claude Debussy, uses a quasi mirror form, with the two motives connecting with a sudden yet seamless tempo change, which is supported by the driving rhythm in the piano, and a development in the middle of the movement.The second movement is a funeral march and is based on the chord progression built around the sustained B natural in the flute, which conveys a dreamlike atmosphere. As the progression transforms, there is an increasing sense of dread that unfolds until this feeling becomes primal before collapsing in on itself at the climax of the movement. From there, the progression returns more actively with, although not as strong as before, a sense of dread still present for the remainder of the movement. The movement is in ternary form (ABA), with a development in the first A section.The third movement is a more clearly defined rondo form and is based on themes that undergo subtle changes each time they return. Other themes include a recurring call and response between the treble and bass lines in the piano, which the flute participates in this exchange when it is presented again later, a reference to the second movement's progression, and a modal theme that floats in terms of harmonic and melodic structure. When the initial theme returns for the final time, a coda restates previous ideas as the finale gradually increases its tempo and concludes the piece. This movement is the most technically challenging, especially considering that I asked Natalie how fast she can double tongue. In general, there are a fair amount of high passages and big leaps. This was written with Natalie's skill set in mind.I. Moderato con gioiaII. Lamento sostenutoIII. ScherzoComposed by Tyler J. HoltPublished by TJHoltMusicCopyright © Tyler J. Holt, Composer.
$20.00
18.48 €
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Flute and Piano
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Tyler J
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Sonata for Flute and Piano, Op. 12
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TJHoltMusic
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SheetMusicPlus
D'amore Si Muore (Milva Version)
Flute and Piano
Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1437015 By Milva. By Carlo…
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Piano,Soprano Flute - Level 3 - Digital Download SKU: A0.1437015 By Milva. By Carlo Carunchio, Ennio Morricone, and Giuseppe Patroni Griffi. Arranged by Eileen Gilligan. 21st Century,Classical,Film/TV,Instructional,Traditional. Score and part. 9 pages. The Flautist #1017083. Published by The Flautist (A0.1437015). D'Amore Si Muore is an excellent way to practice words, expression and phrasing. In this case variations on “love you ” all the way through.Relates brilliantly to Melodious Studies number 11, 13, 14 and also 8.I am a big fan of playing slowly and having absolute control of everything I do down to the last detail and a melody like this is a great tool to practice this. I don’t believe one can play fast before control over slow playing and expression is mastered.Our most natural instrument is our voice . Singing and playing this melody is a terrific way to bridge the gap between the metal flute and one’s voice. The outcome is an amazing resonance ,musical quality in the tone and natural phrasing.Moyse was asked what he thought the French School of flute playing was and he answered” being able to sound like other instruments”. We have to start with the first port of call – our voice.The words you can use for phrasing are ” love you , love you , love you , love you, love you so.” “I really love you so much” ” I really love you so” etc all the way through . You can make up your own.It is worth singing and playing this through. By that I mean play 2 notes, sing 2 and play 2 all the way through without interrupting the musical flow, resonance and tone quality. Great for practising going between singing and playing quickly.Love was a favourite word of Moyse and Wibb. I see why!. It innately has so much expression, warmth, opens up the mouth and in Moyse’s words “scoops the last spoonful of mayonnaise from the jar. ” You definitely can’t say it with “an ugly nasal voice”- Moyse quote.The tone has to have life and expression. I hear so often soft playing as the player blowing softly but that gives such a dull lifeless outcome.
$6.95
6.42 €
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Flute and Piano
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Milva
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D'amore Si Muore
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The Flautist
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SheetMusicPlus
Beethoven: Adagio from Sonata Pathetique for Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549636 Composed by Ludwig van Beet…
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Flute,Piano - Level 3 - Digital Download SKU: A0.549636 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516309. Published by jmsgu3 (A0.549636). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano.
$24.95
23.05 €
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Flute and Piano
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Ludwig van Beethoven
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piano concertos 1-5
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Beethoven: Adagio from Sonata Pathetique for Flute & Piano
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jmsgu3
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SheetMusicPlus
Beethoven: Adagio from Sonata Pathetique for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549643 Composed by Ludwig van Beet…
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Flute,Piano - Level 3 - Digital Download SKU: A0.549643 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 16 pages. Jmsgu3 #3516599. Published by jmsgu3 (A0.549643). Duration: ca 5:20, Score: 8 pages, solo part: 3 pages, piano part: 4 pages. One of Beethoven's finest and most famous works. Program for a recital, church meditation or school program. Bring your best espressivo and plan to rehearse the many subtle dynamic changes.Sonata Pathétique Op. 13 First of all, this is an arrangement of the second movement of Beethoven’s Sonata Pathétique. It seems like Beethoven wrote this piece before becoming troubled by deafness. Published in 1799, it consequently remains one of the most celebrated pieces Beethoven ever wrote. As a result of its popularity, the movement was therefore performed by Karl Haas. Hass recorded it for a popular radio show called: Adventures in Good Music. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna for the rest of his life. In his late 20s, it seems like his hearing certainly began to decline. It slowly declined until consequently, he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies, therefore, belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony, he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. Register for free lifetime revisions and updates at www.jamesguthrie.com
$24.95
23.05 €
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Flute and Piano
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Ludwig van Beethoven
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piano concertos 1-5
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Beethoven: Adagio from Sonata Pathetique for Alto Flute & Piano
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jmsgu3
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SheetMusicPlus
Breeze for Flute and Piano (2023)
Flute and Piano
Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and S…
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Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Chamber,Classical. Score and part. 8 pages. Mary Ellen Haupert #905092. Published by Mary Ellen Haupert (A0.1316351). “Breeze†for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)“Breeze†was written for flutist Iva UgrÄić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of “Breeze†is a yodel in D Major that dissolves into a lapping piano accompaniment – the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the “loons†pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze†in a balanced ABA’ form.
$10.00
9.24 €
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Flute and Piano
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Iva Ugrcic, flute and Satoko Hayami, piano
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Breeze for Flute and Piano
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Mary Ellen Haupert
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SheetMusicPlus
Breeze for Flute and Piano - FLUTE (2023)
Flute and Piano
Flute,Piano - Digital Download SKU: A0.1316354 By Iva Ugrcic, flute and Satoko Haya…
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Flute,Piano - Digital Download SKU: A0.1316354 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert. 21st Century,Chamber,Classical. Score and part. 3 pages. Mary Ellen Haupert #905095. Published by Mary Ellen Haupert (A0.1316354). “Breeze†for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)“Breeze†was written for flutist Iva UgrÄić and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023. The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesota’s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of “Breeze†is a yodel in D Major that dissolves into a lapping piano accompaniment – the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the “loons†pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting “Breeze†in a balanced ABA’ form.
$5.00
4.62 €
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Flute and Piano
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Iva Ugrcic, flute and Satoko Hayami, piano
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Breeze for Flute and Piano - FLUTE
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Mary Ellen Haupert
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SheetMusicPlus
Vivaldi: Sonata No. 1 for Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.550397 Composed by Antonio Vivaldi…
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Flute,Piano - Level 3 - Digital Download SKU: A0.550397 Composed by Antonio Vivaldi. Arranged by James M. Guthrie. Baroque,Christmas,Easter,Sacred. Score and part. 24 pages. Jmsgu3 #4628299. Published by jmsgu3 (A0.550397). Sonata da Chiesa in Bb for Flute & Piano by Antonio Vivaldi in Four movements.Antonio Vivaldi (1678-1741) was an Italian composer and violinist in the Baroque period who is widely considered one of the greatest composers of all time. He significantly influenced many other composers of the Baroque era, and his impact can still be felt in music today.Vivaldi's most significant contribution to music history was his development of the Sonata da Chiesa or church sonata. This composition was a variation of the Baroque sonata and was used primarily in sacred music. It was characterized by a more lyrical approach to composition, focusing on melody and harmonic structure. Vivaldi was one of the first composers to use this form, and his works set the standard for future composers. His church sonatas were written in various keys and styles, and their influence can be heard in the works of later composers, such as J.S. Bach and Handel.Vivaldi's influence on music history is far-reaching, and his contributions to the development of the Sonata da Chiesa are among his most important. His compositions are still widely performed and appreciated today, and his legacy shapes modern-era music.The mood of Vivaldi's Sonata No. 1 can be described as diverse, as it typically consists of multiple movements with varying emotional qualities. Vivaldi's cello sonatas, including Sonata No. 1, are known for their attractive melodies, stylistic variety, and dance-like movements, which can evoke emotions from lively and joyful to reflective and sad. The sonatas often feature a combination of slow and quick movements, reflecting the typical structure of church sonatas from the Baroque period. Therefore, the mood of Sonata No. 1 is likely to encompass a spectrum of emotional expressions characteristic of Vivaldi's compositional style.
$32.95
30.44 €
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Flute and Piano
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Antonio Vivaldi
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Vivaldi: Sonata No. 1 for Flute & Piano
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jmsgu3
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SheetMusicPlus
Flute Sonata
Flute and Piano
Fl. Pft. - Advanced - Digital Download SKU: F2.FM530 Composed by Brian Inglis. Flut…
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Fl. Pft. - Advanced - Digital Download SKU: F2.FM530 Composed by Brian Inglis. Flute and Piano. Score and Part. 29 pages. Forton Music - Digital #FM530. Published by Forton Music - Digital (F2.FM530). ISBN 9790570484294.The composition of this sonata spans the period of my undergraduate studies at Durham University. In the first movement, an overall A minor feel is challenged by the near-atonal way in which the main gesture is developed; and by the intermittently chromatic, pentatonic and whole-tone scalic material which emerges in the piano accompaniment. In the coda [from bar 100] obsessive repetition of chords and single notes threatens to take over, until the tension is resolved onto bare E's (the note with which the movement began). Part of this movement was written in Siena on a summer holiday with my parents; the vivid presence of the Tuscan cicadas is echoed in the flute's fluttertonguing. The Passacaglia second movement can also be performed as a standalone piece. Shades of Bartok's 'night music' style are evident in the central section, where after a short flute cadenza the soloist flutters and mutters above limpid piano arpeggios. In the outer sections, a calm flute melody appears above the block chords of the piano's passacaglia cycle. In contrast to the heat of Italy, this movement was inspired by the image of an icy river connecting different wintry landscapes of cold light snow. A scherzo finale rounds off the sonata, dominated by trills emerging from a theme which rhythmically reconfigures the main gesture from the opening movement. In the central Trio [bars 39-49] the melody from the second movement is recalled to bind everything together. As with the first movement, the coda [from bar 99] develops its own repetitive momentum.
$12.95
11.96 €
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Flute and Piano
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Brian Inglis
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Flute Sonata
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Forton Music - Digital
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SheetMusicPlus
Dreaming of Clunie Water for Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.764004 Composed by Barbara Arens. …
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Flute,Piano - Level 3 - Digital Download SKU: A0.764004 Composed by Barbara Arens. Celtic,Concert,Contemporary,Instructional,Standards. Score and part. 4 pages. Barbara Arens #6417263. Published by Barbara Arens (A0.764004). Dreaming of Clunie Water In the Eastern Highlands of Scotland is the village of Braemar, on the banks of the Clunie River – it’s a magically beautiful place I love to dream about. To evoke an authentic Scottish sound, I’ve used the ‘Scotch Snap’ a lot. The ‘Scotch Snap’ is very typical for Scottish music and consists of an accented short note followed by a long note – you’ll see this twice in the first bar. Sometimes this is played very energetically – but in this piece it is more graceful and dreamy.
$3.00
2.77 €
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Flute and Piano
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Barbara Arens
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Dreaming of Clunie Water for Flute & Piano
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Barbara Arens
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SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549224 Composed by Johann Sebastia…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549224 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Holiday,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468208. Published by jmsgu3 (A0.549224). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.44 €
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Flute and Piano
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Johann Sebastian Bach
#
Bach: Bist du bei mir BWV 508 for Flute & Piano
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jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549473 Composed by Alexander Scria…
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Flute,Piano - Level 3 - Digital Download SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499833. Published by jmsgu3 (A0.549473). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores.BackgroundOp.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt.FormsLikewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality.PhilosophyScriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys.SynesthesiaHe also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. MultimediaHence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain.Modern PerformancesIn modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.43 €
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Flute and Piano
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Alexander Scriabin
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Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
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jmsgu3
#
SheetMusicPlus
Bach: Bist du bei mir BWV 508 for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 2 - Digital Download SKU: A0.549225 Composed by Johann Sebastia…
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Flute,Piano - Level 2 - Digital Download SKU: A0.549225 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Easter,Standards,Wedding. Score and part. 9 pages. Jmsgu3 #3468220. Published by jmsgu3 (A0.549225). J. S. Bach BWV 508. Bist du bei mir Bach adapted this aria from a lost Stölzel opera called Diomedes. He changed the original orchestral instrumentation to soprano, strings, and continuo.  He also modified the voice-leading making it sound more like a Bach composition. The work appears as BWV 508 No. 25 in the Anna Magdalena Notebook No. 2.  Source Only a few remnants of the original opera have survived. Historians speculate that Anna Magdalena got the song from the Leipzig Opera after the bankruptcy of 1720. Chances are good, though, that the tune was a favorite of everyone in Leipzig at the time.  Lyrics When thou art near, I go with joyTo death and to my rest.O how joyous would my end be,If your fair hands      Would close my faithful eyes. - Unknown Bach Overview First of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy are the St. John Passion, and indeed the Christmas Oratorio.  History Bach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV.  Voyager NASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven, and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach than all the others combined.
$32.95
30.44 €
#
Flute and Piano
#
Johann Sebastian Bach
#
Bach: Bist du bei mir BWV 508 for Alto Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.549464 Composed by Alexander Scria…
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Flute,Piano - Level 3 - Digital Download SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499727. Published by jmsgu3 (A0.549464). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background Op.11/2 Alto Clarinet version. First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors. Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$19.95
18.43 €
#
Flute and Piano
#
Alexander Scriabin
#
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
#
jmsgu3
#
SheetMusicPlus
Camille Saint-Saëns / Giuseppe Garibaldi – Danse macabre Fantaisie transcription
Flute and Piano
Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1394363 Composed by Camill…
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Piano,Soprano Flute - Level 4 - Digital Download SKU: A0.1394363 Composed by Camille Saint-Saens. Arranged by Helene Schulthess. 19th Century,Chamber,Children,Classical,Halloween. Score and part. 11 pages. Helene Schulthess #977844. Published by Helene Schulthess (A0.1394363). Open configuration optionsDanse macabre (op. 40) is a symphonic poem for orchestra. However, the first version was a song with piano accompaniment. Saint-Saëns himself later made two versions for violin and piano and for two pianos. Further transcriptions were added by other composers, e.g. for solo piano and organ etc. Giuseppe Gariboldi wrote a Fantaisie-Transcription for the flute.The composition is based on the poem by Henri Cazalis. In the 19th century, piano songs with dance of death stories had a special significance. (e.g. F. Schubert: The Death and the Maiden)According to legend, Death appears at midnight every year on Halloween. He calls forth the dead from their graves to dance for him. The skeletons dance for him until the cockerel crows at dawn, then they must return to their graves until the next year.
$18.00
16.63 €
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Flute and Piano
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Camille Saint-Saens
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Camille Saint-Saëns / Giuseppe Garibaldi – Danse macabre Fantaisie transcription
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Helene Schulthess
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SheetMusicPlus
Hark The Herald Angels Sing (Swing); A funky 5/4 arrangement (with flute solo notated) for flute (in
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.761498 Arranged by Chris Lawry, Ke…
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Flute,Piano - Level 3 - Digital Download SKU: A0.761498 Arranged by Chris Lawry, Keri Degg. Christmas,Jazz. Score and part. 10 pages. Masquerade Music #4810037. Published by Masquerade Music (A0.761498). A fantastically funky arrangement in 5/4 time (with the Composer's own written out 'jazz/funk-style' solo) for flute (in C) and Piano. An accessible piece; around grade 5 flute, enabling you to practice it in limited time for the Holiday/Christmas season. Expertly arranged by Chris Lawry (Composer/Pianist/Orchestrator), and Keri Degg (Composer/Saxophonist/Clarinettist/Flautist). The piece is one of five from 'Christmas Jazz Volume 1' (also available in Eb Sax, Bb Clarinet, and Eb Saxophone, in addition to this flute edition). Christmas Jazz Volume 1 includes; Silent Night, God Rest Ye (Seriously groovy!), The First Nowell (unashamedly smoochy), and I Saw Three Ships (wonderfully funky) in addition to this Hark The Herald (in 5/4).
$3.99
3.69 €
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Flute and Piano
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Hark The Herald Angels Sing
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Masquerade Music
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SheetMusicPlus
Fastnet Rock
Flute and Piano
Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. …
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Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.
$2.99
2.76 €
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Flute and Piano
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Jamie Farrow
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Fastnet Rock
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Jamie Farrow
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SheetMusicPlus
La Lisonjera - flute-piano
Flute and Piano
Flute,Piano - Level 4 - Digital Download SKU: A0.1049312 Composed by Cecile Chamina…
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Flute,Piano - Level 4 - Digital Download SKU: A0.1049312 Composed by Cecile Chaminade. Arranged by Phil Beaman. Romantic Period,Standards. Score and part. 9 pages. Phil Beaman #653682. Published by Phil Beaman (A0.1049312). Cecile Louise Chaminade (1857-1944) was a French Romantic composer and pianist. She is often overlooked as a musician yet she was the first female composer to win the Ordre National de la Legion d'Honneur, France's highest award. In 1890 she wrote a piano piece whimsically titled La Lisonjera (The Flatterer). It is a great example of late Romantic writing for the masses with an eye to publishing. She is lyrical, expressive, and emotional; using dynamics, wider note ranges, and chromaticism. It exhibits her trademark of being 'passionate yet virtuosic'. I have arranged La Lisonjera for Flute and Piano, keeping all of the traditional Romantic characteristics intact. I have added greater contrast between the themes, making the A theme appassionata, and reserving her molto capriccioso for the B theme which I also slow down a bit to allow for more playfulness. It is my own interpretation of articulation and simplified virtuosic passages. The accompaniment is my own reduction to allow the solo to shine freely. The arrangement is still marked as Advanced Intermediate because the solo part has a range of 2 1/2 octaves and many articulation markings. This arrangement is perfect for Recital and Repertoire as a performance of the 'overheated emotions' of the late Romantic era. Enough virtuosity to show the violinist's technique. Accessible and enjoyable for all audiences. (3:30 minutes; 2 without repeat) 6 page score, 3 page part.
$6.99
6.46 €
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Flute and Piano
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Cecile Chaminade
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La Lisonjera - flute-piano
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Phil Beaman
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SheetMusicPlus
Flute Grand Sonata op. 35
Flute and Piano
Instrumental Duet Flute,Instrumental Duet,Piano - Digital Download SKU: A0.979708 C…
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Instrumental Duet Flute,Instrumental Duet,Piano - Digital Download SKU: A0.979708 Composed by Iyad KANAAN. 20th Century,Concert,Romantic Period. Score and parts. 19 pages. Iyad kanaan #4622887. Published by iyad kanaan (A0.979708). Grand sonata for flute and piano in four movements op. 35 springful. Very joyful. Movements are thematically connected. First and fourth in sonata form. second and third in Aria form.
$40.00
36.95 €
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Flute and Piano
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Iyad KANAAN
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Flute Grand Sonata op. 35
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iyad kanaan
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SheetMusicPlus
Debussy: Arabesque 2 for Alto Flute & Piano
Flute and Piano
Flute,Piano - Level 3 - Digital Download SKU: A0.551640 Composed by Claude Debussy …
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Flute,Piano - Level 3 - Digital Download SKU: A0.551640 Composed by Claude Debussy (1862 – 1918). Arranged by James Guthrie, ASCAP. Holiday,Instructional,Romantic Period,Standards. Score and part. 22 pages. Jmsgu3 #5327767. Published by jmsgu3 (A0.551640). Claude Debussy: Arabesque No. 2. Duration ca 3:45. Debussy's Arabesques are considered to be one of the earliest expressions of French impressionism. They are a suite of two piano pieces that contain hints of Debussy's developing musical style. Although they did not receive much attention when they were first published, they are now regarded as early impressionist standards. Debussy seems to wander through modes and keys, achieving evocative scenes throughout both pieces. The Arabesques are important in the history of music as they represent a significant development in the impressionist movement.Claude Debussy was a French composer born in 1862 who developed a highly original system of harmony and musical structure that expressed the ideals of the Impressionist and Symbolist painters and writers of his time. He is considered one of the most important and influential composers of the 20th century. Debussy's compositions, including his orchestral poems and piano music, helped establish the musical language for much of the twentieth century. Critics often credited Debussy with pioneering a genre called impressionism, although Debussy consistently rejected the term. Debussy's best-known musical arabesque is his Prélude à l’après-midi d’un faune (1894).
$32.95
30.44 €
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Flute and Piano
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Claude Debussy
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Debussy: Arabesque 2 for Alto Flute & Piano
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jmsgu3
#
SheetMusicPlus
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