Woodwind Ensemble Flute - Level 2 - Digital Download SKU: A0.796430 Composed by John Philip Sousa. Arranged by Monty and Phyllis Adams. 20th Century,Classical,Folk,Holiday,Patriotic. 32 pages. Adams Magnificent Music #3486605. Published by Adams Magnificent Music (A0.796430). An elegant flute choir arrangement of John Philip Sousa's Gliding Girl perfect for high school flute choirs.

Composed by John Philip Sousa (1854-1932). Arranged by Ray-Michael Kauffman. Contemporary Classical, Movies, Fourth of July, Patriotic, Americana. Individual Part, Score, Set of Parts. 37 pages. Published by a do Ray me flute studio production (S0.286 - Individual Part,Score,Set of Parts - Contemporary Classical,Movies,Fourth of July,Patriotic,Americana - a do Ray me flute studio production

Large Ensemble Flute - Digital Download SKU: A0.1008900 Composed by Catherine Ing. 20th Century,Contemporary. Score and parts. 29 pages. Deusa Flauta Music #6274853. Published by Deusa Flauta Music (A0.1008900). What does twilight sound like? Embark on an adventure of discovery with this reflective score. Thank you for your interest! If you’ve enjoyed this arrangement, or have any questions about this or any of our other arrangements, please contact us on Facebook or Twitter @deusaflauta, or at www.wordpress.com/page/deusaflauta.

Woodwind Ensemble - Level 4 - Digital Download SKU: A0.747384 Composed by Wolfgang Amadeus Mozart. Arranged by Darrell Goforth. Classical,Instructional. 17 pages. Darrell Harrison Goforth #455695. Published by Darrell Harrison Goforth (A0.747384). This arrangement is part of a series for Flute Choir which will encompass Mozart's opera The Marriage of Figaro. The series will include the Overture (Sinfonia) and many of the arias, duets and ensembles from the opera. The work can be presented as a complete performance or as standalone pieces. In each of the vocal selections the solo voices will rotate among the entire group, making it ideal for student recitals and to build confidence among the players. The Duettino No. 1 is the opening scene of the opera featuring Figaro (Alto Flute 3) and Susanna (Flute 4) and sets the mood for the entire opera. It is a conversation between Figaro and Susanna, each opening with their own concerns and coming together as a couple. Contact me with questions or comments at dgoforth2@comcast.net My facebook page is: GoForth Music (https://www.facebook.com/goforthmusic?fref=ts) and my YouTube Channel is https://www.youtube.com/user/dgoforth2.

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.

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.

Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo,Soprano Flute - Level 4 - Digital Download SKU: A0.1242493 By Wrabel. By Andrew Jackson, Andrew Pearson, and Stephen Wrabel. Arranged by a do Ray me flute studio production Ray-Michael Kauffman. 21st Century,Contemporary,Film/TV,Pop,Singer/Songwriter. 53 pages. As do Ray meflute studio production #837642. Published by as do Ray meflute studio production (A0.1242493). The Village by Wrabel, arranged for flute choir /ensemble arranged by me, Ray-Michael Kauffman. This beautiful and poignant song  is part of my Compositions that care series, meaning all profits from thios arrangemnt goes to a charity. This charity is for LGBTQ+. ( about the song meaning)Wrabel, the composer, stated the song is about the LGBTQ+ community and all the hardships they face.The song is directed and to encourage and give hope to a trans person who is being treated poorly and ostracized , and to let that perosn struggling know that there is absolutely Nothing wrong with you and there's soemthing wrong with the village.Too many of the trans/LGBTQ+ comminity are struggling , especially in todays political climate. All around the world LGBTQ+ persons are being bullied, discriminated against , attacked, thrown in jail , and even killed with liitle to no laws to protect people.in my own personal life, as a victim of a horrible hate crime where the person involved attmepted to beat me and kill me , unfortuanelty i found out very qucikly how laws even in the USA do not protect me , how many cops ignored me and/or attmepted to make the attack  my fault , and how laywers did not want to help and judges either ,and beacsue of the laws i was not protected as a minority and the crime wasn't a hate crime even though the criminals admitted this as the reason of the attack.I was told that this was not a hate crime , unless the criminals made me a victim of S.A., used a car/vehicle , or a gun, or actually ended my life. I also wanted to add , this brutal attack ( recorded on video by the criminals )  which caused such serious bodily harm, had me in the hospital for surgeries, and required months of long and painful rehab and therapy.As a country, as a society, as a planet ,  we all need to do better, and have to have more protections for such a discriminated group of persons.I did want to add , all the issues happening around the world, and even here in the USA, such as the awful and fascist discrimitory laws in Florida and other states it's no wonder the statistics of LGBTQ+ that contemplate ending their person or even attempting the act .I ask respectfully  that every one please go to law makers and demand better laws and treatments of people no matter what community there are of. All people deserve respect, proper medcial care, and to have the same rights as every other human being.  We all  can and must  be the change  you wish to see in the world. ( Ganhdi)Thank you for checking my  special arrangement out, and please check out my other arrangements on SheetMusicPlus and my Website  @ doRaymeflute.com 

Woodwind Ensemble Flute - Level 4 - Digital Download SKU: A0.747386 Composed by Wolfgang Amadeus Mozart. Arranged by Darrell Goforth. Classical,Instructional. 15 pages. Darrell Harrison Goforth #484313. Published by Darrell Harrison Goforth (A0.747386). This arrangement is part of a series for Flute Choir which will encompass Mozart's opera The Marriage of Figaro. The series will include the Overture (Sinfonia) and many of the arias, duets and ensembles from the opera. The work can be presented as a complete performance or as standalone pieces. In each of the vocal selections the solo voices will rotate among the entire group, making it ideal for student recitals and to build confidence among the players. In this Cavatina, Figaro is imagining what he will do foil Count Almaviva in his plot to send Figaro on a tour and force himself on the new bride, Susanna. Contact me with questions or comments at: dgoforth2@comcast.net My facebook page is: GoForth Music (https://www.facebook.com/goforthmusic?fref=ts) and my YouTube Channel is https://www.youtube.com/user/dgoforth2.

Woodwind Ensemble - Level 4 - Digital Download SKU: A0.747387 Composed by Wolfgang Amadeus Mozart. Arranged by Darrell Goforth. Classical,Instructional. 16 pages. Darrell Harrison Goforth #506605. Published by Darrell Harrison Goforth (A0.747387). This arrangement is part of a series for Flute Choir which will encompass Mozart's opera The Marriage of Figaro. The series will include the Overture (Sinfonia) and many of the arias, duets and ensembles from the opera. The work can be presented as a complete performance or as standalone pieces. In each of the vocal selections the solo voices will rotate among the entire group, making it ideal for student recitals and to build confidence among the players. In this Duettino, Marcellina, the maid of honor, and Susanna engage in a rather catty conversation, revealing their mutual disdain. Contact me with questions or comments at: dgoforth2@comcast.net My facebook page is: GoForth Music (https://www.facebook.com/goforthmusic?fref=ts) and my YouTube Channel is https://www.youtube.com/user/dgoforth2.

By USA For Africa. Arranged by Adrian Wagner. Score, Set of Parts. 19 pages. Published by Published by Adrian Wagner

Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.1278068 Composed by Terry Mingle. 21st Century,Children,Comedy,Contemporary,New Age. 22 pages. Terry Patrick Mingle #869759. Published by Terry Patrick Mingle (A0.1278068). A cute little piece for flute choir (Piccolo, 2 C flutes, plus alto flute and bass flute) to welcome in springtime. Hear a few of the birds calling and singing in a dawn chorus, to welcome the season. This arrangement was written out of a love for birds and birding, and features a few of the usual suspects from the woods and fields of the Northeast USA.

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.736289 Composed by Phyllis Avidan Louke, ASCAP. 20th Century,Contemporary. 62 pages. Louke Publishing #4405244. Published by Louke Publishing (A0.736289). For Flute Choir Cloud Images By Phyllis Avidan Louke Cloud Images is a programmatic work in five movements for Flute Choir dedicated to Albert Weatherly of Sankyo Flutes, USA. The inspiration for this piece came from the beauty of the cloud formations observed during a long plane flight.  Movement 1, Rising Above the Clouds, features a soaring melody played first by the bass and alto flute over an ostinato played by the flutes. The piccolo adds a countermelody which contributes to the feeling of being above the clouds. (1:30)  Movement 2, Billowing Clouds, features a melody in 7/8 time, alternating with another in 6/8 time, to convey the the shape and roundness of clouds.   (2:00) Movement 3, Oh Look! There’s an Alligator!, is a whimsical look at the different shapes that can be found in clouds. A running bass line in the bass flute supports a jaunty melody which seems to be on the prowl to find various shapes in the clouds. Several different animal shapes are seen: a hippo, an elephant, and finally, an alligator. Vocals can also be utilized in this movement to better communicate these animal shapes to the audience. (2:20)  Movement 4, With Your Head in the Clouds, is in a light-hearted soft shoe style. The melodies describe the feeling of skipping through life, not having a care in the world. For a Lawrence Welk ending, one of the players with rests can blow bubbles during the last measure. (1:40)  Movement 5, Through a Sea of Clouds, has a dream-like quality imagining what it would be like to travel through a sea of clouds and touch their whispy softness. The bass flute is prominently featured, and later joined by the alto flute. The piccolo adds the frosting on top. (2:30)   Phyllis Avidan Louke is a flutist and award-winning composer and arranger with more than 70 published pieces to her credit. www.phyllislouke.com