Partitions Numériques de Music Dialogue pour Ensemble de Flûtes

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Music Dialogue
Non classifié 373

Piano & claviers
Piano seul 30
Piano Facile 13
Instruments en Do 12
Piano, Voix et Guitare 11
Piano, Voix 5

Orgue 5
Piano Quatuor: piano, violon, alto, violoncelle 2
2 Pianos, 4 mains 2
Accompagnement Piano 2
Accordéon, Corde(s) 1
Orgue et Orchestre 1
Piano Trio: piano, violon, violoncelle 1

+ 7 instrumentations

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Guitares
Guitare 6
Ligne De Mélodie, (Paroles) et Accords 3
Guitare notes et tablatures 2
Dulcimer 1
2 Guitares (duo) 1

Voix
Chorale SATB 31
Chorale 3 parties 9
Voix seule 8
Chorale Unison 7
Chorale TTBB 4

Chorale SSAA 2
Chorale 2 parties 2
Voix duo, Piano 2
Voix duo, Orgue 1
Voix basse, Piano 1
Chorale SSAATTBB 1

+ 6 instrumentations

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Vents
Flûte traversière et Piano 22
Hautbois, Piano (duo) 20
2 Saxophones (duo) 18
Hautbois, Basson (duo) 15
Saxophone Alto et Piano 15

Clarinette, Violoncelle (duo) 12
Clarinette et Piano 12
Flûte, Clarinette (duo) 12
Flûte, Violoncelle 12
Hautbois, Violoncelle 11
Clarinette, Violon (duo) 10
Flûte, Violon 10
2 Flûtes traversières (duo) 10
Flûte, Alto (duo) 9
Clarinette, Basson (duo) 9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 9
Clarinette et Alto 8
Saxophone, Clarinette (duo) 6
Quatuor de Saxophones: 4 saxophones 6
Hautbois et alto (duo) 6
Saxophone Tenor et Piano 6
2 Hautbois (duo) 6
Saxophone Alto 6
Flûte, Hautbois, Clarinette, Basson 6
Clarinette 5
Saxophone (partie séparée) 5
Hautbois, violon (duo) 5
Saxophone Soprano et Piano 5
2 Clarinettes (duo) 5
Hautbois, Clarinette (duo) 5
Clarinette, Trompette (duo) 4
Flûte traversière 4
Flûte, Trombone (duo) 4
Ensemble de Clarinettes 4
Flûte, Hautbois (duo) 4
Cor anglais, Piano 3
Quintette de Saxophone: 5 saxophones 3
Hautbois (partie séparée) 3
Hautbois, trombone (duo) 3
Quatuor de Clarinettes: 4 clarinettes 2
3 Saxophones (trio) 2
Clarinette, Tuba 2
Hautbois, Flûte 2
3 Clarinettes (trio) 2
Flûte, Saxophone (duo) 2
Flûte, Violon, Piano 2
Flûte, Violoncelle, Piano (trio) 2
Flûte, Tuba (duo) 2
Clarinette (partie séparée) 2
Flûte, Trompette (duo) 2
Flûte à Bec 2
Ensemble de Flûtes 2

Flûte, Hautbois, Clarinette (trio) 2
Flûte, Hautbois, Basson 2
Hautbois, Orgue 1
Flûte à bec Soprano 1
Flûte et Guitare 1
Flûte, Basson et Piano 1
2 Flûtes traversières, Piano 1
Trio de Flûtes: 3 flûtes 1
Flûte, Clarinette, Piano (trio) 1
Flute (partie séparée) 1
Flûte, Hautbois, Piano (trio) 1
Clarinette Basse, Piano 1
Clarinette, Contrebasse (duo) 1

+ 60 instrumentations

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Cuivres
Trombone et Piano 12
Trompette, Piano 12
Trompette, Trombone (duo) 12
Tuba et Piano 7
Cor et Piano 7

Cor, Violoncelle (duo) 6
Trompette, Violoncelle (duo) 6
2 Trombones (duo) 6
Quatuor de Cuivres 5
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 5
Euphonium, Piano (duo) 5
Trompette, Saxophone (duo) 4
2 Trompettes (duo) 4
Trompette, Basson (duo) 4
Trompette et Guitare 3
Cor anglais, Piano 3
Trombone 3
Trompette, Cor (duo) 3
Trompette 3
2 Cors (duo) 3
Trompette (partie séparée) 2
Quatuor de Cuivres: 2 trompettes, Cor, trombone 2
Cor 2
2 Tubas (duo) 2
Trompette, Tuba (duo) 2
Cor et Basson (duo) 1
Euphonium 1
Trompette, violon (duo) 1
Cor (partie séparée) 1
Tuba 1
Quatuor de Cuivres : 2 trompettes, trombone, tuba 1
Ensemble de Trombones 1
Trombone (partie séparée) 1
Tuba (partie séparée) 1
Trombone, Violon (duo) 1

+ 30 instrumentations

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Cordes
Violon et Piano 23
Alto, Piano 22
Violoncelle, Piano 21
Quatuor à cordes: 2 violons, alto, violoncelle 17
Violon, Violoncelle (duo) 14

2 Violons (duo) 14
Violon, Alto (duo) 10
Alto, Violoncelle (duo) 9
Violon, Basson (duo) 8
2 Altos (duo) 6
2 Violoncelles (duo) 5
Alto seul 5
Violon 5
Violon, Guitare (duo) 4
Quintette à cordes: 2 violons, alto, violoncelle, basse 4
Violoncelle (partie séparée) 4
Trio à Cordes: 2 violons, violoncelle 3
Alto et Basson 3
Contrebasse, Piano (duo) 3
Trio à Cordes: violon, alto, violoncelle 3
Contre Basse 2
Alto (partie séparée) 2
Violoncelle , Guitare (duo) 2
Harpe 2
2 Contrebasses (duo) 2
Violoncelle, Contrebasse (duo) 2
Violoncelle 2
Harpe, Flûte (duo) 1
Violon (partie séparée) 1
Quatuor à cordes : 4 altos 1
Violon, Tuba (duo) 1
Piano Trio: Violon, Alto, Piano 1
Flûte, Contrebasse (duo) 1
Violon, Clarinette, Piano (trio) 1

+ 29 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 14
Orchestre 10
Orchestre à Cordes 8
Ensemble de cuivres 5
Ensemble Jazz 4

Vibraphone 2
Xylophone, Piano 2
Orchestre de chambre 2
Percussion (partie séparée) 2
2 Xylophones 1
Percussion 1
Marimba et Orgue 1

+ 7 instrumentations

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Music Dialogue

Ensemble de Flûtes

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2 partitions trouvées

Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir

Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir #Ensemble de Flûtes #INTERMÉDIAIRE #Gabrieli #James M #Gabrieli: Sonata Pian e Forte #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Flute - Level 3 - SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3...(+)

Woodwind Ensemble Flute - Level 3 - 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ 44.03€

Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir

Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir #Ensemble de Flûtes #INTERMÉDIAIRE #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Flute - Level 3 - SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3...(+)

Woodwind Ensemble Flute - Level 3 - 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™s later motets Sacrae SymphoniaeÂ (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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ 44.03€

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