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Only Time
Not classified 383

Piano & keyboards
Piano solo 233
Piano, Voice 61
Easy Piano 39
Piano, Vocal and Guitar 20
Organ 11

Piano Trio: piano, violin, cello 5
Piano Accompaniment 3
1 Piano, 4 hands 3
C Instruments 3
Piano Quintet: piano, 2 violins, viola, cello 2
Piano Quartet: piano, violin, viola, cello 2
2 Pianos, 4 hands 1

+ 7 instrumentations

- Retract

Guitars
Guitar notes and tablatures 18
Guitar 16
Melody line, (Lyrics) and Chords 6
2 Guitars (duet) 4
Mandolin 3

Dulcimer 3
4 Guitars (Quartet) 2
3 Guitars (trio) 1
Banjo 1
Bass guitar 1
Piano, Guitar (duet) 1

+ 6 instrumentations

- Retract

Voice
Choral SATB 83
Choral SSAA 16
Choral 3-part 15
Choral TTBB 9
Choral 2-part 4

Vocal duet, Piano 4
Vocal duet 3
Voice solo 2
Soprano voice 1
Alto voice, Piano 1
Choral SSAATTBB 1
Low voice 1

+ 7 instrumentations

- Retract

Woodwind
Flute and Piano 66
Clarinet and Piano 47
2 Saxophones (duet) 40
Saxophone Quintet: 5 Saxophones 36
Alto Saxophone and Piano 35

Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 30
Oboe, Piano (duet) 27
Tenor Saxophone and Piano 24
Flute, Oboe, Clarinet, Bassoon 21
Clarinet 20
Soprano Saxophone and Piano 20
Recorder Ensemble 19
Saxophone 16
2 Clarinets (duet) 16
Baritone Saxophone, Piano 15
2 Flutes (duet) 15
Saxophone ensemble 13
Clarinet Quartet: 4 clarinets 11
Flute 10
Alto Saxophone 10
Saxophone (band part) 10
Flute Quintet : 5 flutes 9
Flute Quartet: 4 flutes 9
Bass Clarinet, Piano 9
Clarinet Ensemble 8
Saxophone, Clarinet (duet) 7
Flute, Clarinet (duet) 7
Clarinet Quintet: 5 clarinets 7
English horn, Piano 6
2 Oboes (duet) 5
Clarinet, Trumpet (duet) 5
Oboe (band part) 5
Flute, Saxophone (duet) 5
Saxophone Quartet: 4 saxophones 5
Clarinet, Violin (duet) 5
5 Recorders 4
Flute and Guitar 4
Tenor Saxophone 4
Flute, Violin 4
Soprano Saxophone 3
Flute ensemble 3

Clarinet, Guitar (duet) 2
Oboe, Bassoon (duet) 2
Baritone Saxophone 2
Treble (Alto) Recorder 2
Oboe, Flute 2
Flute, Basso continuo 2
Flute, Viola (duet) 2
Clarinet and Viola 2
Oboe, Clarinet (duet) 2
Clarinet, Bassoon (duet) 1
Flute, Clarinet and Bassoon. 1
Bass Clarinet 1
2 Recorders (duet) 1
Flute, Clarinet, Piano (trio) 1
English Horn, Guitar (duet) 1
Flute, Trumpet (duet) 1
Pennywhistle 1
English Horn 1
Saxophone and Guitar 1
Recorder 1
Recorder Quartet 1
Piccolo, Piano 1

+ 58 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 40
Brass quartet : 2 trumpets, trombone, tuba 30
Trumpet, Piano 22
Trumpet 19
Trombone and Piano 19

French Horn and Piano 18
Trombone 14
Brass Quartet: 2 trumpets, horn, trombone 12
Trumpet ensemble 11
Tuba 8
Tuba and Piano 8
Euphonium, Piano (duet) 8
French horn 8
2 Trombones (duet) 6
Trombone ensemble 6
English horn, Piano 6
2 Trumpets (duet) 5
Horn Ensemble 5
Trumpet, Saxophone (duet) 4
2 French horns (duet) 4
Brass Quartet: 4 horns 2
Brass Quartet: 4 trombones 2
Trumpet, Trombone (duet) 2
Brass Quartet: 4 trumpets 2
4 Tubas 2
English Horn, Guitar (duet) 1
2 Tubas (duet) 1
Bass Trombone 1
English Horn 1

+ 24 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 89
Violin and Piano 68
Viola, Piano 67
Cello, Piano 50
Violin, Cello (duet) 41

Violin 33
String Trio: violin, viola, cello 29
String Quintet: 2 violins, viola, cello, bass 19
Harp 17
2 Violins (duet) 15
Viola 10
2 Cellos (duet) 10
2 Violas (duet) 9
Cello (band part) 7
Cello 5
Violin, Viola (duet) 5
Double bass, Piano (duet) 5
Violin ensemble 5
String Trio: 2 violins, cello 5
4 Cellos 4
Viola (band part) 3
2 Harps (duet) 3
Viola, Cello (duet) 3
String Quintet: 2 violins, viola, 2 cellos 2
String Trio: 2 violins, viola 2
2 Double basses (duet) 2
Viola ensemble 2
Double Bass 2
Cello, Guitar (duet) 2
String Trio: 3 cellos 2
Harp, Violin, Violoncello 2
Harp, Violin (duet) 2
String Quintet: 2 violins, 2 violas, cello 1
String trio 1
Harp, Flute (duet) 1
Cello Ensemble 1

+ 31 instrumentations

- Retract

Percussion & orchestra
String Orchestra 49
Concert band 41
Orchestra 30
Jazz Ensemble 21
Chamber Orchestra 13

Brass ensemble 12
Handbells 11
Drums 6
Marimba 6
Percussion Ensemble 4
Marching band 4
Jazz combo 3
String Quintet : 2 Violins, Viola, Violoncello, Doublebass, Keyboard 1

+ 8 instrumentations

- Retract

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Only Time

intermediate

Flute ensemble

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3 sheet music found

Silent Night (Bb) (Flute Octet)

Silent Night (Bb) (Flute Octet) #Flute ensemble #INTERMEDIATE #Christmas #the 1840's, the song was well #Franz Xaver Gruber #Regis Bookshar #Silent Night #Regis Bookshar #SheetMusicPlus

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.813987 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christmas,Instructional,M...(+)

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.813987 Composed by Franz Xaver Gruber. Arranged by Regis Bookshar. Christmas,Instructional,Multicultural,World. 11 pages. Regis Bookshar #6636631. Published by Regis Bookshar (A0.813987). Flute Octet - Intermediate - Digital Download. This arrangement of Silent Night, or in German, Stille Nacht, would be a wonderful addition to any music library and could be performed for Christmas concerts, recitals, and, especially, church services. It is equally suitable for junior and senior high school students and even older musicians. Depending on their ability, younger musicians would also enjoy playing this selection. Included are a score and a complete set of parts (11 pages). This selection is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library which are being made available for the first time.Silent Night is probably the most popular Christmas carol ever written. It was composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr and was first performed on Christmas Eve at St. Nicholas parish church in Oberndorf, a small village in present-day Austria. A young Catholic priest, Father Joseph Mohr, had written the poem, Stille Nacht, in 1816 and had gone to Oberndorf in 1817. The melody was composed by Franz Xaver Gruber, schoolmaster and organist in the nearby village of Arnsdorf. On Christmas Eve, 1818, Mohr brought the words to Gruber and asked him to compose a melody and guitar accompaniment for that night's mass, after river flooding had possibly damaged the church organ. The church was eventually destroyed by repeated flooding and has since been replaced with the Silent-Night-Chapel.According to Gruber, Karl Mauracher, an organ builder who serviced the instrument at the Oberndorf church, was enamored with the song, and took the composition home with him to the Ziller Valley in Tyrol, Austria. From there, two traveling families of folk singers, the Strassers and the Rainers, included the tune in their shows. The Rainers were already singing it around Christmas, 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia. They also gave the first performance of the song in the United States in New York City in 1839. By the 1840's, the song was well known and was reported to be a favorite of Frederick William IV of Prussia. During this period, the melody changed slightly to become the version that is commonly heard today. The version of the melody that is generally used today is a slow, meditative lullaby, or pastoral, differing slightly from Gruber's original which has a moderate tempo. The song has been translated into about 140 languages and has been recorded by many singers across many music genres. The version sung by Bing Crosby in 1935, has sold over 10 million copies as a single.In this arrangement of Silent Night, Regis Bookshar has kept the basic form of this familiar Christmas carol, but has also included a descant during the third verse. Also, in addition to this version for a Flute Octet, there are other arrangements of Silent Night available for a variety of instrumental ensembles. There are Quintets and Octets readily available for purchase. Please take the time to look for other versions of this composition. You may find something else that might 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 wide 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 wonderful arrangement of Silent Night will continue to entertain both performers and audiences alike for years to come.

$8.00 ≈ 7.46€

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 ≈ 44.69€

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 ≈ 44.69€