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  • Duet 2 Flutes - Fantasia NR 4 - Orlando Gibbons

    Загружено:

    k-krak
    893 просмотров2 страницы
    This document is a musical score titled "Fantasia" composed by Orlando Gibbons. It contains musical notation spanning 55 lines with bars, notes, and other symbols. The summary focuses on high-level elements rather than detailed analysis of the score. It is a fantasia composed by English composer Orlando Gibbons in D Dorian mode without key signatures between 1583-1625.

    Исходное описание:

    Оригинальное название

    Duet 2 flutes - Fantasia nr 4 - Orlando Gibbons

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    © Attribution Non-Commercial (BY-NC)

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    This document is a musical score titled "Fantasia" composed by Orlando Gibbons. It contains musical notation spanning 55 lines with bars, notes, and other symbols. The summary focuses on high-level elements rather than detailed analysis of the score. It is a fantasia composed by English composer Orlando Gibbons in D Dorian mode without key signatures between 1583-1625.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    893 просмотров2 страницы

    Duet 2 Flutes - Fantasia NR 4 - Orlando Gibbons

    Загружено:

    k-krak
    This document is a musical score titled "Fantasia" composed by Orlando Gibbons. It contains musical notation spanning 55 lines with bars, notes, and other symbols. The summary focuses on high-level elements rather than detailed analysis of the score. It is a fantasia composed by English composer Orlando Gibbons in D Dorian mode without key signatures between 1583-1625.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 2

    Fantasia

    VdGS# 4, orig D-dorisk (uden fortegn)

    Orlando Gibbons, 1583-1625

     

     
       
                      


             

           
                
    6

          
    
         
       
                     

       
      
        
           
    12

      
                 
       
         

                
    

    17

          
              
               

          
          
    21

         
       
    
              
      
      
    Kenneth Krak, 2011
            
    2
    26

      
         
          
       

        
                        
    31


                   
    
                

       
    35

                 
     
                  
       

                             
    41 
     
         
                 

                 
    47

             
       

                      
           

                     
    52

      

        
          
    

                  
    55


     
            
      

    Kenneth Krak, 2011

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