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And They That Be Wise
Not classified 110

Piano & keyboards
Piano solo 9
Easy Piano 4
Piano, Voice 4
Piano, Vocal and Guitar 1
C Instruments 1

Piano Trio: piano, violin, cello 1
Piano Quartet: piano, violin, viola, cello 1

+ 2 instrumentations

- Retract

Guitars
Guitar 1

Voice
Choral SATB 5
Choral TTBB 1

Woodwind
Clarinet and Piano 12
Flute and Piano 10
Tenor Saxophone and Piano 8
Oboe, Piano (duet) 8
Baritone Saxophone, Piano 8

Soprano Saxophone and Piano 7
Clarinet Ensemble 7
Bass Clarinet, Piano 6
Saxophone ensemble 6
English horn, Piano 6
Alto Saxophone and Piano 4
Flute ensemble 3

Clarinet 3
Saxophone Quintet: 5 Saxophones 2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1
Saxophone Quartet: 4 saxophones 1
Flute Quintet : 5 flutes 1
2 Flutes (duet) 1
Flute, Oboe, Clarinet, Bassoon 1

+ 14 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 11
Brass Quartet 11
Euphonium, Piano (duet) 11
Trombone and Piano 8
French Horn and Piano 7

English horn, Piano 6
Trumpet ensemble 4
Trombone ensemble 4
Horn Ensemble 3
Brass Quartet: 2 trumpets, horn, trombone 3
Trumpet 3
Trumpet, Piano 3
Tuba 2
Trumpet, Trombone (duet) 2
Brass quartet : 2 trumpets, trombone, tuba 1

+ 10 instrumentations

- Retract

Strings
Violin, Cello (duet) 14
Cello, Piano 7
Viola, Piano 6
Violin and Piano 6
String Quartet: 2 violins, viola, cello 3

Cello 2
String Quintet: 2 violins, 2 violas, cello 2
Violin ensemble 1
String Quintet: 2 violins, viola, cello, bass 1
Viola ensemble 1

+ 5 instrumentations

- Retract

Percussion & orchestra
Concert band 4
Orchestra 2
Brass ensemble 1
String Orchestra 1

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And They That Be Wise

Flute ensemble

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3 sheet music found

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

Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir #Flute ensemble #INTERMEDIATE #Gabrieli #James M #Gabrieli: Sonata Pian e Forte #jmsgu3 #SheetMusicPlus

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

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 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 ≈ 43.27€

Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir

Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir #Flute ensemble #INTERMEDIATE #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

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

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 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 ≈ 43.27€

Recordare (from "Requiem") (F) (Flute Octet)

Recordare (from "Requiem") (F) (Flute Octet) #Flute ensemble #INTERMEDIATE/ADVANCED #Classical #Wolfgang Amadeus Mozart #Regis Bookshar #Recordare #Regis Bookshar #SheetMusicPlus

Flute Choir,Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.1112877 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bookshar. Chamber...(+)

Flute Choir,Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.1112877 Composed by Wolfgang Amadeus Mozart. Arranged by Regis Bookshar. Chamber,Christian,Classical,Instructional,Religious. 44 pages. Regis Bookshar #714833. Published by Regis Bookshar (A0.1112877). Recordare (from Requiem (K. 626) - Wolfgang Amadeus Mozart/Franz Xaver Sussmayr - Flute Octet - Advanced/Intermediate - Digital Download. Hauntingly beautiful is how the Recordare from Mozart's Requiem is often described. Originally written for an orchestra and four vocal soloists, it has now been transcribed by Regis Bookshar for a Flute Octet, and would be a wonderful addition to any music library. This arrangement will provide students with the opportunity to practice breath control because of its long, sustained phrases, and also to give them the chance to play this beautiful composition, something which they may not have had the opportunity to do, otherwise. This selection could be performed for concerts, recitals and church services and is suitable for high school and college students but professional musicians would also enjoy playing this arrangement. Included are a score and a complete set of parts (44 pages). The Regis Bookshar Trumpet Ensemble has performed the Trumpet Quintet version of the Recordare for funerals, providing beautiful, introspective music for the occasion. There is some controversy surrounding the circumstances of the Requiem's composition because Mozart died before he could complete it. Count Franz von Walsegg had commissioned a Requiem Mass but Mozart had received only half of the payment in advance. So, upon his death on December 5th, 1791, his widow, Constanze, wished to have the work completed secretly by someone else and submit it to the count as having been completed by Mozart to collect the final payment. Joseph von Eybler was one of the first composers to be asked to complete the score and had worked on a number of movements but felt unable to complete the remainder and gave the manuscript back to Constanze Mozart. The task was then given to another composer, Franz Xaver Sussmayr. Sussmayr borrowed some of Eybler's work in making his completion, added his own orchestration to other movements and added several new movements which a Requiem Mass would normally comprise. He then added a final section by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Sussmayr and Mozart's wife, was done according to Mozart's directions. The completed score, initially by Mozart but largely finished by Sussmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart dated 1792. Despite the controversy over how much of the music is actually Mozart's, the commonly performed Sussmayr version has become widely accepted by the public, and is considered one of Mozart's finest compositions. The Recordare is considered by many people to be one of the most beautiful compositions in Mozart's entire catalogue. Regis Bookshar, a trumpet player, has performed the Requiem in concert with a full orchestra, soloists and a chorus and felt that other musicians should have the opportunity to play the hauntingly beautiful Recordare as well. So, in addition to this arrangement for a Flute Octet, he has made quite a few other arrangements of this beautiful composition. There are Quintets, Sextets, Septets and Octets readily available for a wide variety of instrumental ensembles. Please take the time to look for other versions of this composition. You may fine something else which may also suit your needs. I would also encourage you to search for other arrangements by Regis Bookshar as well, as there are numerous arrangements in a variety of styles, also available for purchase. You may find something else which might interest you. Please continue to check periodically because new arrangements are being added as often as possible. I'm certain that this beautiful arrangement of Mozart's Recordare, will continue to entertain both performers and audiences alike for years to come.

$40.00 ≈ 36.10€