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Study in E
Flute ensemble
Sheetmusic to print
3 sheet music found
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1
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Flute ensemble
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gab…
(+)
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
43.76 €
#
Flute ensemble
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Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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jmsgu3
#
SheetMusicPlus
Air from Suite in D by Bach for flute choir / flute ensemble
Flute ensemble
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.874245 Composed by Joh…
(+)
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.874245 Composed by Johann Sebastion Bach , J S Bach. Arranged by Ray-Michael Kauffman. Baroque,Concert,Sacred,Standards,Wedding. 17 pages. As do Ray meflute studio production #3591641. Published by as do Ray meflute studio production (A0.874245). https://www.youtube.com/watch?v=EKPo0RPP-E4&feature=youtu.beAir from Suite in D by J. S. Bacharranged for flute choir / ensemble by me Ray-Michael Kauffman. I know there is a lot of versions of this , but unhappy with most of them and lack of over all music musicality I decided to create one that was interesting to play and hear a swell as make good musical sense. After much debate, I decided changing the key to E flat would be most appropriate for either small group of players ( minimum 7) or larger groups . In the piece there is even additional divisions to help create more texture and colors in parts 3 & 4, yet remaining simple and true but sounding beautiful , what flutes should sound like.Great for studying flutist, to high school and college students. Flute choir groups, etcwould be a great addition for your ensemble, whether playing at a recital, concert, church and other spiritual events, graduation, weddings, etc. This would also be a great tool or warm up for balance and shaping sound, volume, color, blending, phrasing and other important technique builders for your group.You'll love this arrangement ,and so will the flutists and your audience!
$13.99
12.77 €
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Flute ensemble
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Johann Sebastion Bach , J S Bach
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Air from Suite in D by Bach for flute choir / flute ensemble
#
as do Ray meflute studio production
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Flute ensemble
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gab…
(+)
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
43.76 €
#
Flute ensemble
#
Gabrieli
#
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
#
jmsgu3
#
SheetMusicPlus
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