Partitions Numériques de Air for double bass and piano pour Flûte traversière et Piano

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Air for double bass and piano
Non classifié 140

Piano & claviers
Piano seul 5
Piano Quatuor: piano, violon, alto, violoncelle 2
Piano, Voix et Guitare 1
Accordéon 1
Piano Facile 1

Guitares
Basse electrique 1

Voix
Chorale SATB 6

Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 4
Quatuor de Clarinettes: 4 clarinettes 4
Flûte traversière et Piano 2

Saxophone Alto et Piano 1
Saxophone Alto 1

Hautbois, Basson et Piano 1
Hautbois, Basson (duo) 1
Hautbois, Piano (duo) 1
Clarinette et Piano 1
Flûte, Hautbois, Clarinette, Basson 1

+ 5 instrumentations

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Cuivres
Trombone (partie séparée) 1
2 Trombones (duo) 1
Trombone et Piano 1

Cordes
Contrebasse, Piano (duo) 41
Quintette à cordes: 2 violons, alto, violoncelle, basse 19
Contre Basse 16
Quatuor à cordes: 2 violons, alto, violoncelle 6
Violoncelle, Contrebasse (duo) 4

Violon et Piano 3
Violoncelle, Piano 2
Alto, Piano 1
Contrebasse (partie séparée) 1
Violon (partie séparée) 1

+ 5 instrumentations

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Percussions & orchestre
Orchestre 6
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier 4
Ensemble Jazz 4
Orchestre d'harmonie 4
Orchestre à Cordes 4

Orchestre de chambre 3
Jazz combo 1

+ 2 instrumentations

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Air for double bass and piano

Flûte traversière et Piano

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2 partitions trouvées

Air varie brillant

Air varie brillant #Flûte traversière et Piano #INTERMÉDIAIRE/AVANCÉ #Classique #Jean- Louis Tulou #Co #Air varie brillant #Schott Music - Digital #SheetMusicPlus

Flute and piano - intermediate to advanced - Op. 98. Composed by Jean- Louis Tulou (1786-1865). Edited by Edmund Wachter and Elisabeth Weinzierl. Thi...(+)

Flute and piano - intermediate to advanced - Op. 98. Composed by Jean- Louis Tulou (1786-1865). Edited by Edmund Wachter and Elisabeth Weinzierl. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 19 pages. Schott Music - Digital #Q53376. Published by Schott Music - Digital
Jean-Louis Tulou, a pupil of Johann Georg Wunderlich, was one of the leading flautists of his time: he was principal flautist at the opera and a professor at the Conservatoire. His pupils included legendary flautists such as Henri Altes, Jules Demersseman and Eugene Walckiers. He composed over 130 flute pieces and wrote a flute tutorial method. He forbade his students to play the newly constructed flute designed by Theobald Bohm and even made a few adaptations to the traditional flute himself. Only after his retirement in 1856 could the Bohm flute that is familiar today come in to use under his successor Dorus. This Air varie brillant op. 98 was published in collaboration by Brandus &. Cie, Paris and Schott, Mainz. An alternative setting of the accompaniment for chamber ensemble (two violins, viola, cello, double bass, two oboes, two horns and two bassoons) is only listed by Brandus. .
Plate no. 8873 / published in 1851.

$4.99 ≈ 4.56€

Sonata for Flute and Piano, Op. 12

Sonata for Flute and Piano, Op. 12 #Flûte traversière et Piano #AVANCÉ #Tyler J #Sonata for Flute and Piano, Op #TJHoltMusic #SheetMusicPlus

Instrumental Duet Flute,Instrumental Duet,Piano - Level 5 - SKU: A0.1021619 Composed by Tyler J. Holt. Concert,Contemporary,Standards. Score and parts. ...(+)

Instrumental Duet Flute,Instrumental Duet,Piano - Level 5 - 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 Â© Tyler J. Holt, Composer.

$20.00 ≈ 18.30€

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