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35
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28
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23
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22
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21
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21
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20
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15
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15
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14
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14
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13
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11
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10
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9
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9
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7
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7
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6
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Flute ensemble
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6 sheet music found
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1
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
#
Flute ensemble
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
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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
Fugue 20 from Well-Tempered Clavier, Book 1 (Flute Sextet)
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Flute ensemble
#
Classical
#
Johann Sebastian Bach
#
Richard Byrnes
#
Bass Flute
#
Fugue 20 from Well-Tempered Cl
#
Richard Byrnes
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Digital Download SKU: A0.830132 Composed by Johann Sebastian Bach. Arranged by Richard Byrn...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Digital Download SKU: A0.830132 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 25 pages. Richard Byrnes #2913827. Published by Richard Byrnes (A0.830132).  The Well-Tempered Clavier has influenced many famous composers (Haydn, Mozart, Beethoven). Its variety of styles displays the amazing compositional technique of J. S. Bach. If you don’t know these, get acquainted. This is an arrangement by Richard Byrnes for Piccolo, 3 Flutes, Alto Flute, & Bass Flute. You will notice that there are no dynamics offered. Rather find a dynamic level for your group where all of the parts are balanced equally.  These pieces often use ornaments. The recording will demonstrate to you how they should sound.  Please peruse the pages and listen to the recording of the score that is offered to determine whether this arrangement can work for your ensemble.  In addition to many works by J.S. Bach, we offer works by Brahms, Debussy, Dvorák, Fauré, Glazounov, Glinka, Gottschalk, Granados, Griffes, Lotti, Mendelssohn, Mozart, Ravel, Richard Strauss, Turina, & Vierne.
$29.99
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Flute ensemble
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
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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
Can Can
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Flute ensemble
#
INTERMEDIATE
#
Contemporary
#
Dirk Schweppe, Jacques Auguste
#
Sean Sullivan
#
Can Can
#
Sean Sullivan
#
SheetMusicPlus
Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - Digital Download SKU: A0.981288 Composed by Dirk Schweppe, Jacques Auguste Ignace (Dp) Of...
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Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - Digital Download SKU: A0.981288 Composed by Dirk Schweppe, Jacques Auguste Ignace (Dp) Offenbach, and Jacques Offenbach. Arranged by Sean Sullivan. Contemporary. 15 pages. Sean Sullivan #4996773. Published by Sean Sullivan (A0.981288). The unforgettable melody from Offenbach's operetta, Orpheus in the Underworld, this arrangement for flute choir really moves along, using dynamics and clean scoring to create a quick, light sound. The audience won't be able to resist clapping along! Arranged for four flutes, alto flute and optional bass flute.
$12.99
Moon River
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Flute ensemble
#
INTERMEDIATE
#
Contemporary
#
Andy Williams
#
David Heywood
#
Moon River
#
David Heywood
#
SheetMusicPlus
Flute Choir - Intermediate - Digital Download By Andy Williams. Arranged by David Heywood. Score, Set of Parts. 19 pages. Published by David Heywood ...
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Flute Choir - Intermediate - Digital Download By Andy Williams. Arranged by David Heywood. Score, Set of Parts. 19 pages. Published by David Heywood
Moon River by Henry Mancini is a familiar melody that can add a lighter note to your next program.
Adapted for flute choir (flutes 1-4, alto, and bass), and scored with lush jazz chords, this
arrangement is not difficult technically, but pays attention to dynamics and phrasing to create
a relaxing break from more serious program choices. Both the upper and lower flutes have their
turn at carrying the theme through two keys, all supported by a flowing accompaniment that
mirrors the melody. Your group will enjoy this as much as your audience does.
$14.99
Papa, Can You Hear Me? for Flute Choir
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Flute ensemble
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INTERMEDIATE/ADVANCED
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Broadway
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Glee Cast
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Lisa Ochoco
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Papa, Can You Hear Me? for Flu
#
Lisa Ochoco
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SheetMusicPlus
Flute, Woodwind Choir or Ensemble, Flute Choir - Advanced Intermediate - Digital Download By Glee Cast. Arranged by Lisa Ochoco. Score, Set of Parts....
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Flute, Woodwind Choir or Ensemble, Flute Choir - Advanced Intermediate - Digital Download By Glee Cast. Arranged by Lisa Ochoco. Score, Set of Parts. 18 pages. Published by Lisa Ochoco
This beautiful song comes from the musical Yentl, starring Barbra Streisand.
As an instrumental piece, dynamics, tempo changes - of which there are many - and the attention to the overall emotion of the song will make this piece soar as it should.
This arrangement is for flute choir: 4 C flutes, alto, bass, contrabass, and optional cello to help give the bass line a stronger presence.
I hope you and your audience will enjoy this piece.
Duration: 3.5 minutes
$16.00
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