Download Digital Sheet Music of They're Red Hot for Flute and Piano

They're Red Hot
Flute and Piano

Mazurka de Salon Flute and Piano

Flute and piano - intermediate to advanced - Digital Download SKU: S9.Q25990 Compos…(+)

Flute and piano - intermediate to advanced - Digital Download SKU: S9.Q25990 Composed by Albert Franz Doppler. This edition: Sheet music. Il Flauto traverso. Das abwechslungsreiche CharakterstÃ¼ck fÃ¼r FlÃ¶te und Klavier, mit ihren reizvollen, elegischen wie virtuosen Passagen, ist dank seines gemÃ¤ÃŸigten Schwierigkeitsgrades schon fÃ¼r ambitionierte Liebhaber eine Repertoire-Bereicherung. Downloadable. Op. 16. Schott Music - Digital #Q25990. Published by Schott Music - Digital (S9.Q25990). This Mazurka de Salon for flute and piano with its delightful elegiac and virtuoso passages is a character piece full of contrasts; moderate in difficulty, it represents a valuable addition to the repertoire for ambitious amateur players.Along with his younger brother Carl (1825â€“1900), Albert Franz Doppler (1821â€“1883) was one of the most celebrated flautists of the nineteenth Century. Their virtuoso duo playing was greatly admired and they captivated audiences in the musical capitals of Europe with works they had composed themselves.In 1842 the brothers were founder members of the Vienna Philharmonic orchestra. After spending some time as principal flautist at the Bucharest Opera (1835) and in the orchestra of the Hungarian National Theatre (1841), Franz Doppler decided to return to Vienna, where he worked as principal flautist and conductor at the Court opera and was appointed professor at the Conservatoire in 1865. Awarded the Franz-Joseph medal by the Kaiser in 1881, he died in Baden near Vienna in 1883.
$9.99 9.15 € #Flute and Piano #Albert Franz Doppler #Mazurka de Salon #Schott Music - Digital #SheetMusicPlus

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 â€šSuiteâ€™ is not one of my â€˜epicâ€™ 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 â€“ 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 FlÃ»te en suite. JÃ¶rg WidmannThis â€šSuiteâ€™ is not one of my â€˜epicâ€™ 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 FlÃ»te en suite. JÃ¶rg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) Â· 3 (2. auch Ob. dâ€™am., 3. auch Engl. Hr.) Â· 0 Â· 3 (3. auch Kfg.) - 4 Â· 4 Â· 3 Â· 1 - S. (Glsp. Â· Vibr. Â· 3 hg. Beck. [h./m./t.] Â· chin. Beck. Â· 4 Gongs Â· 4 Buckelgongs Â· 2 Tamt. [m./t.] Â· Wassertamt. Â· gr. Tr. Â· Metal Chimes Â· Peitsche) (2 Spieler) - Hfe. Â· Cel. (auch Cemb.) - Str. (10 Â· 8 Â· 6 Â· 4 Â· 3).

Flute - Intermediate - Digital Download Composed by Traditional. Arranged by Colin Kirkpatrick. Christmas, Recital. Piano Reduction, Set of Parts. 21 pages. Published by Colin Kirkpatrick Publications
Here are three refreshing new modernarrangements of three popular traditional carols “like you ain’t never heardthem before”. Intended for the intermediate flute player (or players) and areasonably competent pianist, they are sure to brighten up your Christmasevents whether at home, school, church or recital hall. You can of course use the music with any number of flute players. The pieces could be usedduring a Christmas service or as stand-alone pieces at an end-of-termpresentation. The audio sample includes recordings of all three pieces.<br> <br> The King Rides Out(based on “Good King Wenceslas”) starts conventionally enough but turns into acountry-style song and then there’s a three-part Bach-like contrapuntal section,concluding with a wistful coda before the music returns to the joyful countrystyle. Waltz with Holly – or Possibly Ivy (based of course on “The Hollyand the Ivy”) turns into a dreamy waltz with long extended phrases and a goodvehicle to show the flute player’s tone quality. The Merry Gentleman goLatin is a lively rumba version of “God Rest You Merry, Gentlemen”.<br> <br> ColinKirkpatrick studied composition, cello and piano at London’s prestigious RoyalCollege of Music and after graduation followed a career in music education. Hewas a High School Music Director in London for about fifteen years and laterbecame a Music Education Adviser for local government, with the addedresponsibility for training teachers and directing the instrumental teaching service.<br> <br> Hehas been published by Boosey & Hawkes, Novello, Paxton, Schott, OxfordUniversity Press, Chester, Belwin Mills and Intrada (Netherlands). He holds MAand PhD degrees in education and his other interests include reading,photography, travel, cooking and wine tasting - though not necessarily all atthe same time.

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 Irelandâ€™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 lighthouseâ€™s history were my inspiration for this duet, with the different images and ideas that they created, influencing my compositionâ€™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 instrumentâ€™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.