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Sheet music, primarily vocal music of American imprint, dating from the 18th century to the present, with most titles in the period 1840–1950. John Hay Library at Brown University: ART SONG CENTRAL: downloadable, IPA transcriptions, vocal: 1,000 Printable sheet music primarily for singers and voice teachers—most downloadable.
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Download as PDF; Printable version; In other projects Wikimedia Commons ... This is a list of notable compositions for the flute (particularly the Western concert ...
The bass flute is an octave lower than the concert flute, and the contrabass flute is an octave lower than the bass flute. Less commonly seen flutes include the treble flute in G, pitched one octave higher than the alto flute; soprano flute, between the treble and concert; and tenor flute or flûte d'amour in B ♭ , A or A ♭ [ citation ...
Suite Antique is a 1979 concertante work by John Rutter that is written for harpsichord, flute and string orchestra. [1] [2]Rutter composed the piece, in six movements, for a concert at which Bach's fifth Brandenburg concerto was to be performed, and so decided to write the piece for the same ensemble. [3]
Sheet music enables instrumental performers who are able to read music notation (a pianist, orchestral instrument players, a jazz band, etc.) or singers to perform a song or piece. Music students use sheet music to learn about different styles and genres of music. The intended purpose of an edition of sheet music affects its design and layout.
Suite for Flute and Jazz Piano (aka Suite for Flute and Jazz Piano Trio) is a "crossover" composition by the jazz pianist and composer Claude Bolling. [1] The composition, originally written in 1973, is a suite of seven movements, written for a classical flute , and a jazz piano trio ( piano , string bass , and drums ).
Music for Flute, Strings, and Percussion is a piece written by Sofia Gubaidulina in 1994 dedicated to Pierre-Yves Artaud. The instruments are divided into two sections, one of which is tuned a quarter-tone lower than the other. [1] Gubaidulina (2001) describes, "in this way the potential of treating both halves as 'light' and 'shadow' emerges."