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Bin There
Not classified 16

Piano & keyboards
Piano solo 9
Organ 3
Piano Trio: piano, violin, cello 1
Piano Quartet: piano, violin, viola, cello 1
2 Pianos, 4 hands 1

1 Piano, 4 hands 1

+ 1 instrumentations

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Guitars

Voice
Choral SATB 4
Choral TTBB 1

Woodwind
Flute, Oboe, Clarinet, Bassoon 4
Soprano Saxophone and Piano 3
Alto Saxophone and Piano 3
Flute and Piano 3

Tenor Saxophone and Piano 1

Clarinet 1
3 Clarinets (trio) 1
Flute 1
Flute Trio: 3 flutes 1
Saxophone Quartet: 4 saxophones 1
Oboe, Piano (duet) 1
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1

+ 7 instrumentations

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Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 5
Brass quartet : 2 trumpets, trombone, tuba 2
3 Trombones (trio) 1
Trombone and Piano 1

Strings
Cello, Piano 2
String Quartet: 2 violins, viola, cello 2
Viola, Piano 2
Cello 1
2 Violas (duet) 1

Viola 1
Harp 1
String Quintet: 2 violins, viola, cello, bass 1
String Trio: violin, viola, cello 1
Violin and Piano 1

+ 5 instrumentations

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Orchestra 6
Concert band 5
String Orchestra 4
Chamber Orchestra 3
Jazz combo 1

Marimba 1
Jazz Ensemble 1

+ 2 instrumentations

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Flute and Piano

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3 sheet music found

Flûte en suite

Flûte en suite #Flute and Piano #ADVANCED #Joerg Widmann #Flûte en suite #Schott Music - Digital #SheetMusicPlus

Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano ...(+)

Flute and orchestra - difficult - Digital Download SKU: S9.Q25027 For flute and orchestral groups. Composed by Joerg Widmann. This edition: piano reduction with solo part. Il Flauto traverso. Downloadable, Piano reduction with solo part. Duration 22 minutes. Schott Music - Digital #Q25027. Published by Schott Music - Digital (S9.Q25027). This â€šSuiteâ€™ is not one of my â€˜epicâ€™ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family); the string section in the Sarabande; in both chorales (extremely muted in the first and brutalist in the second), the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This permits the flute to remain the provider of all impulses; it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights â€“ acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my FlÃ»te en suite. JÃ¶rg WidmannThis â€šSuiteâ€™ is not one of my â€˜epicâ€™ instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom. Every individual movement allots the solo flute an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra; the string section in the Sarabande; in both chorales the brass etc.; and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my FlÃ»te en suite. JÃ¶rg Widmann3 (2. auch Altfl., 3. auch Bassfl., alle auch Picc.) Â· 3 (2. auch Ob. dâ€™am., 3. auch Engl. Hr.) Â· 0 Â· 3 (3. auch Kfg.) - 4 Â· 4 Â· 3 Â· 1 - S. (Glsp. Â· Vibr. Â· 3 hg. Beck. [h./m./t.] Â· chin. Beck. Â· 4 Gongs Â· 4 Buckelgongs Â· 2 Tamt. [m./t.] Â· Wassertamt. Â· gr. Tr. Â· Metal Chimes Â· Peitsche) (2 Spieler) - Hfe. Â· Cel. (auch Cemb.) - Str. (10 Â· 8 Â· 6 Â· 4 Â· 3).

$55.99 ≈ 50.46€

Breeze for Flute and Piano (2023)

Breeze for Flute and Piano (2023) #Flute and Piano #ADVANCED #Iva Ugrcic, flute and Satoko H #Breeze for Flute and Piano #Mary Ellen Haupert #SheetMusicPlus

Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Cha...(+)

Flute,Piano - Level 5 - Digital Download SKU: A0.1316351 By Iva Ugrcic, flute and Satoko Hayami, piano. By Mary Ellen Haupert (b. 1960). 21st Century,Chamber,Classical. Score and part. 8 pages. Mary Ellen Haupert #905092. Published by Mary Ellen Haupert (A0.1316351). â€œBreezeâ€ for Flute and Piano (2023) by Mary Ellen Haupert (b.1960)â€œBreezeâ€ was written for flutist Iva UgrÄiÄ‡ and pianist Satoko Hayami for the Out of Our Minds Chamber Music performance of music by women composers on November 4, 2023.Â The work was inspired by the sounds of lapping water, loon calls, and wind carried off the shores of Minnesotaâ€™s Lake Pokegama, where our family has a summer cabin. Loons are social migratory birds that communicate with each other via wails (calls to one another), tremolos (warnings to others about impending danger), yodels (territorial demonstrations), and coo-ing (quiet contentment). The opening of â€œBreezeâ€ is a yodel in D Major that dissolves into a lapping piano accompaniment â€“ the backdrop for a measured loon soliloquy. The piano restates the loon tune with the flute echoing in canon.The loon echoes dissipate in an undulating transition to a B section featuring the traditional Irish tune, St. Columba, first published by George Petrie in 1855. The tune is presented in D Mixolydian over a repeated bass line that is meant to evoke the rhythmic paddling of a canoe. As the tune ends, the â€œloonsâ€ pick up their own improvisation over the bass line, again in canon. There are only slight alterations in the closing section, casting â€œBreezeâ€ in a balanced ABAâ€™ form.

$10.00 ≈ 9.01€

Fairest Lord Jesus

Fairest Lord Jesus #Flute and Piano #ADVANCED #Schlesische Volkslieder, 1842 #Roger Lowe #Fairest Lord Jesus #Roger Lowe Music #SheetMusicPlus

Piano,Soprano Flute - Level 5 - Digital Download SKU: A0.1448462 Composed by Schlesische Volkslieder, 1842. Arranged by Roger Lowe. Jazz,Sacred,Tradition...(+)

Piano,Soprano Flute - Level 5 - Digital Download SKU: A0.1448462 Composed by Schlesische Volkslieder, 1842. Arranged by Roger Lowe. Jazz,Sacred,Traditional. Score and part. 12 pages. Roger Lowe Music #1026281. Published by Roger Lowe Music (A0.1448462). This flute arrangement of the favorite hymn begins quietly. As the hymn is rather short, there is some original music to bridge the verses and fill out the piece without sounding repetitive. The second verse is more energetic in 6/8, then the piece ends quietly as it began. This arrangement is perfect for a church service, part of a prelude to an event, or recital. The PDF includes separate piano and flute parts, as well as a combined score.

$2.99 ≈ 2.69€