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--INSTRUMENTS--
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Not classified
1,019
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187
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19
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Piano Quartet: piano, 2 violins, cello
7
Organ, Trumpet (duet)
6
Accordion
6
Piano Quintet: piano, 2 violins, viola, cello
3
1 Piano, 6 hands
1
2 Organs (duet)
1
2 Pianos, 4 hands
1
+ 12 instrumentations
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Retract
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108
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Mandolin
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Baritone Ukulele
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3 Guitars (trio)
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Dulcimer
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2 Ukuleles
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4 Guitars (Quartet)
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+ 11 instrumentations
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Choral
14
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Soprano voice, Piano
4
Vocal duet
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Voice, Guitar
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Voice solo
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High voice
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Low voice, Piano
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Alto voice, Piano
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1
Tenor voice, Piano
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Baritone voice, Piano
1
Choral SSATB
1
Vocal duet, Piano
1
Soli, Mixted choir and accompaniment
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+ 16 instrumentations
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Retract
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189
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73
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22
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11
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9
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9
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8
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8
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7
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7
Recorder
6
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6
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5
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5
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5
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Saxophone ensemble
4
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4
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3
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2
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2
Harmonica
2
Clarinette, Viola and Piano (trio)
2
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2
English Horn
2
Flute, Clarinet, Piano (trio)
2
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2
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2
3 Oboes
2
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1
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1
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1
Wind ensemble
1
Flute, Oboe, Violin
1
Oboe, Cello
1
Clarinet, Guitar (duet)
1
Saxophone and Piano
1
2 Flutes, Piano
1
Flute, Harp and Cello
1
Flute, Clarinet, Violin (trio)
1
Oboe and viola (duet)
1
2 Clarinets, Bassoon
1
4 Oboes
1
Oboe, Bassoon and Piano
1
Oboe, Cello and Piano
1
+ 93 instrumentations
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Retract
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Brass Quintet: 2 trumpets, horn, trombone, tuba
133
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119
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96
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72
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47
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31
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31
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28
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26
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24
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21
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21
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17
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12
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12
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11
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10
Tuba
8
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7
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7
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6
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4
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Brass Quintet: 2 trumpets, horn, 2 trombones
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1
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318
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169
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163
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159
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126
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56
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47
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41
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24
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13
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11
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8
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8
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7
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5
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4
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1
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1
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1
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Flute ensemble
Sheetmusic to print
8 sheet music found
<
1
Cloud Images for Flute choir
#
Flute ensemble
#
INTERMEDIATE
#
Contemporary
#
Phyllis Avidan Louke
<
#
Phyllis Avidan Louke, ASCAP
#
Cloud Images for Flute choir
#
Louke Publishing
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.736289 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 62 pages. Louke P...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.736289 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 62 pages. Louke Publishing #4405244. Published by Louke Publishing (A0.736289). For Flute Choir Cloud Images By Phyllis Avidan Louke Cloud Images is a programmatic work in five movements for Flute Choir dedicated to Albert Weatherly of Sankyo Flutes, USA. The inspiration for this piece came from the beauty of the cloud formations observed during a long plane flight. Movement 1, Rising Above the Clouds, features a soaring melody played first by the bass and alto flute over an ostinato played by the flutes. The piccolo adds a countermelody which contributes to the feeling of being above the clouds. (1:30)  Movement 2, Billowing Clouds, features a melody in 7/8 time, alternating with another in 6/8 time, to convey the the shape and roundness of clouds.  (2:00) Movement 3, Oh Look! There’s an Alligator!, is a whimsical look at the different shapes that can be found in clouds. A running bass line in the bass flute supports a jaunty melody which seems to be on the prowl to find various shapes in the clouds. Several different animal shapes are seen: a hippo, an elephant, and finally, an alligator. Vocals can also be utilized in this movement to better communicate these animal shapes to the audience. (2:20)  Movement 4, With Your Head in the Clouds, is in a light-hearted soft shoe style. The melodies describe the feeling of skipping through life, not having a care in the world. For a Lawrence Welk ending, one of the players with rests can blow bubbles during the last measure. (1:40)  Movement 5, Through a Sea of Clouds, has a dream-like quality imagining what it would be like to travel through a sea of clouds and touch their whispy softness. The bass flute is prominently featured, and later joined by the alto flute. The piccolo adds the frosting on top. (2:30)  Phyllis Avidan Louke is a flutist and award-winning composer and arranger with more than 70 published pieces to her credit. www.phyllislouke.com  Â
$18.00
A Sigh of Spring
#
Flute ensemble
#
INTERMEDIATE
#
New Age
#
Contemporary
#
Terry Mingle
#
A Sigh of Spring
#
Terry Patrick Mingle
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.1278068 Composed by Terry Mingle. 21st Century,Children,...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.1278068 Composed by Terry Mingle. 21st Century,Children,Comedy,Contemporary,New Age. 22 pages. Terry Patrick Mingle #869759. Published by Terry Patrick Mingle (A0.1278068). A cute little piece for flute choir (Piccolo, 2 C flutes, plus alto flute and bass flute) to welcome in springtime. Hear a few of the birds calling and singing in a dawn chorus, to welcome the season. This arrangement was written out of a love for birds and birding, and features a few of the usual suspects from the woods and fields of the Northeast USA.
$12.00
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
#
Flute ensemble
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
#
Flute ensemble
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Bach: Jesu, Joy of Man's Desiring for Flute Choir
#
Flute ensemble
#
INTERMEDIATE
#
J
#
James M
#
Bach: Jesu, Joy of Man's Desir
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.548649 Composed by J. S. Bach, 1685 - 1750. Arranged by James M. Guthrie, ASCAP. Christmas,E...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.548649 Composed by J. S. Bach, 1685 - 1750. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Wedding. 34 pages. Jmsgu3 #3407871. Published by jmsgu3 (A0.548649). Jesu, Joy of Man's Desiring from Bach's Cantata 147, arranged for flute choir: piccolo, 3 flutes, alto flute, bass flute, double contrabass flute (optional) and cello (optional). Score: 19 pg. Parts: 2 pg. Duration with optional repeat: 7:36 Jesu, Joy of Man’s Desiring Bach composed a cantata called Herz und Mund und Tat und Leben. Though it is the 32nd cantata, it is listed as BWV 147. Jesu, Joy of Man’s Desiring is the 10th movement of the cantata. It was customary to use previous melodies as a basis for a new work - a practice called Cantus prius factus. So, the chorale melody for this piece is a historic tune called Werde munter, mein Gemüthe. Jesu, Joy of Man’s Desiring is customarily performed at weddings, and during major church seasons such as Easter and Christmas. 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, in addition to his 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.
$49.95
Bach: Wachet auf for Flute Choir
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Flute ensemble
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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James M
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Bach: Wachet auf for Flute Cho
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549859 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Conce...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549859 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie, ASCAP. Baroque,Concert,Easter,Sacred,Wedding. 24 pages. Jmsgu3 #3556989. Published by jmsgu3 (A0.549859). Wachet auf, ruft uns die Stimme (Awake, the Voice is calling us) from Cantata BWV 140. Duration: ca. 4:00, Score: 10 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. Voyager
$39.95
On Wings of Lightning Gallop for Flute Choir
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Flute ensemble
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INTERMEDIATE
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John Philip Sousa
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Monty Adams
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On Wings of Lightning Gallop f
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Adams Magnificent Music
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SheetMusicPlus
Composed by John Philip Sousa (1854-1932). Arranged by Monty Adams. For Flute,Flute Choir. Intermediate. Set of Parts. 48 pages. Published by Adams Magnificent ...
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Composed by John Philip Sousa (1854-1932). Arranged by Monty Adams. For Flute,Flute Choir. Intermediate. Set of Parts. 48 pages. Published by Adams Magnificent Music
$30.00
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