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Flute Choir,Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1449511 Composed by Sy Brandon. 21st Century,Chamber,Contest,Festival. 45 pages. Sy Brandon #1029267. Published by Sy Brandon (A0.1449511). Cascades is a three-movement composition for flute choir that represents both the waterfall definition of the word and the mountain range in the Pacific Northwest. The first movement represents Multnomah Falls, the tallest waterfall in Oregon. It drops 635 feet in two tiers. The music has cascading musical figures as well as sense of power and beauty. Mt. Hood is the inspiration for second movement. Standing at 11,249 feet above sea level, this majestic mountain is dramatically visible from the valley floor and is snow covered most of the year. The music of this movement depicts the rising from the valley floor with its low to high orchestration. The almost symmetrical shape is represented by descending lines after the two climaxes.The third movement is a reminder of the relatively youngness of the Cascade mountain range. In 1980, Mt. St. Helens erupted, causing catastrophic damage to the surrounding area and loss of lives. What remains of this former symmetrical mountain is a large crater as a reminder of the volatile nature of the Cascade Range. The music of this movement is filled with tension, from the seismic tremors of the first part to the eruption itself in the second part. A final cascade, this time depicting lava flow rather than a waterfall, brings both the movement and the composition to a close.
Cascades for Flute Choir
Ensemble de Flûtes

$15.00 12.82 € Ensemble de Flûtes PDF SheetMusicPlus

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.
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Ensemble de Flûtes

$47.95 40.99 € Ensemble de Flûtes PDF SheetMusicPlus

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

$47.95 40.99 € Ensemble de Flûtes PDF SheetMusicPlus

Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - Digital Download SKU: A0.1138249 Composed by Grant Horsley. Christmas,Classical,Contest,Easter,Festival,Sacred. 30 pages. Grant Horsley #738520. Published by Grant Horsley (A0.1138249). Aria is scored for 4 C Flutes, Alto and Bass Flute. This version is in F major- also a D major version is available. It is a very restful melodic piece based on a single motif heard in bar 1. Written in the key of F major the piece is very hymn -like in design- with long notes and chords but has some unusual harmonies. The searing theme is stated then repeated with variation in texture. The theme is then developed using the rhythmic motif in the beginning climaxing in G major briefly before calmly returning to F major to repeat again. On this repeat more variation and articulation takes place before a restful conclusion. I've tried to keep all parts interesting. The full score is 11 pages and parts are 3 pages each- it is roughly 5 mins 30 in length. I have set it to intermediate level but an early intermediate should be ok with some of the parts. The whole score is on the youtube link for you to assess suitability. Price is for the full score and all parts. Suitable for a variety of purposes: Concerts, Recitals, Contests, Festivals, Easter, Church services, Weddings, Productions or an addition to the repertoire.
"Aria" for Flute Choir- F major version
Ensemble de Flûtes

$13.50 11.54 € Ensemble de Flûtes PDF SheetMusicPlus

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.736288 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 38 pages. Louke Publishing #4367130. Published by Louke Publishing (A0.736288). Shadowlands:  A JourneyBy Phyllis Avidan Louke, ASCAP PROGRAM NOTES:Shadowlands:  A Journey is a programmatic work in three movements for Flute Choir written in memory of the composer’s uncle who died from cancer.  Movement One (Out of the Darkness), written in a minor key, contains a plaintive melody conveying sadness which later transforms to hope.  Movement Two (Into the Shadows) begins with a beautiful bass and alto flute duet written in quartal harmony.  The melody is introspective, yet, in conjunction with syncopated chords by 4ths, keeps moving the listener forward toward a climax of resignation.  Movement Three (Moving Toward the Light), written in a major key, conveys a feeling of hope and peace, ends with a touching chorale which extensively utilizes chords with added seconds. Scored for piccolo, 3 flutes, alto flute, and bass flute, and opt. contrabass flute (doubling bass flute part) Phyllis Avidan Louke is a flutist and award-winning composer and arranger with more than 70 published pieces to her credit. www.phyllislouke.com    
Shadowlands: A Journey for Flute Choir
Ensemble de Flûtes
Phyllis Avidan Louke, ASCAP

PROGRAM NOTES:
Shadowlands:  A Journey
is a programmatic work in three movements for Flute Choir written in memory of the composer’s uncle who died from cancer
 

Movement One (Out of the Darkness), written in a minor key, contains a plaintive melody conveying sadness which later transforms to hope
$17.00 14.53 € Ensemble de Flûtes PDF SheetMusicPlus






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