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Sinfonia In F - String Bass
Partitions à imprimer
16 partitions trouvées
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1
Sinfonia 9 for Woodwind Trio
Hautbois, Clarinette, Basson (trio d'anches)
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Flute,Oboe - Level 3 - Digital Download SKU: A0.963273 Composed by Johann Sebastian Bach. Arranged by Cristiano Vecchi. Baroque,Instructional,Standards. 8 pages. Cristiano Vecchi #4109613. Published by Cristiano Vecchi (A0.963273). The three-part Sinfonia or Inventio N.9, chromatic masterwork by J.S. Bach, in a version for Flute or Oboe, Bb Clarinet and Bassoon, transposed in the more easy key of G minor from the original in F minor.Added dynamic and expression indications that follow and show the formal architecture of the piece.SCORE AND PARTS.
$2.99
2.78 €
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Hautbois, Clarinette, Basson (trio d'anches)
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Johann Sebastian Bach
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Cristiano Vecchi
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Sinfonia 9 for Woodwind Trio
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Cristiano Vecchi
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SheetMusicPlus
Sinfonia No. 8 in F Major, BWV 794
Hautbois, Clarinette, Basson (trio d'anches)
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Oboe - Level 4 - Digital Download SKU:…
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Oboe - Level 4 - Digital Download SKU: A0.1416105 By Little Sheet Music. By Johann Sebastian Bach. Arranged by Genti Guxholli. 19th Century,Baroque,Classical. 6 pages. Genti Guxholli #997796. Published by Genti Guxholli (A0.1416105). Email: infolittlesheetmusic@gmail.com.
$4.99
4.64 €
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Hautbois, Clarinette, Basson (trio d'anches)
#
Little Sheet Music
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Genti Guxholli
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Sinfonia No. 8 in F Major, BWV 794
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Genti Guxholli
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SheetMusicPlus
Sinfonia No. 9 in F Minor, BWV 795
Hautbois, Clarinette, Basson (trio d'anches)
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Oboe - Level 3 - Digital Download SKU:…
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet,Oboe - Level 3 - Digital Download SKU: A0.1417699 By Little Sheet Music. By Johann Sebastian Bach. Arranged by Genti Guxholli. 19th Century,Baroque,Classical. 7 pages. Genti Guxholli #999238. Published by Genti Guxholli (A0.1417699). Email: infolittlesheetmusic@gmail.com.
$4.99
4.64 €
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Hautbois, Clarinette, Basson (trio d'anches)
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Little Sheet Music
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Genti Guxholli
#
Sinfonia No. 9 in F Minor, BWV 795
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Genti Guxholli
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SheetMusicPlus
Sonar's Riddle (Bassoon)
Basson
Bassoon Solo - Level 4 - Digital Download SKU: A0.983173 Composed by Craig Wadley. …
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Bassoon Solo - Level 4 - Digital Download SKU: A0.983173 Composed by Craig Wadley. 21st Century,Chamber,Contemporary,Contest,Festival. Individual part. 5 pages. Wadley Publications #4980651. Published by Wadley Publications (A0.983173). The title of Sonar’s Riddle is an anagram of Dr. Daniel Ross, and stands as a tribute to a musician known for both his kindness and humor. Dr. Daniel F. Ross (1944-2019) was a Professor of Music at Arkansas State University, where he taught the double reed studio from 1968 to 2018. During his illustrious career, he became known as not only a world-class musician, but an innovator in the field of reed-making with his Ross Gouging Machine. As a performer, he served as Principal Oboist with the Arkansas Symphony and performed with the North Arkansas Symphony, Arkansas Philharmonic Orchestra, Tupelo Symphony, Delta Symphony, Atlanta Symphony, Nashville Symphony, the St. Louis Symphony, and the St. Louis Chamber Music Society. He was a frequent soloist with the Forum Sinfonia of Krakow, Poland, touring with them in the United Stated and Europe. He held the title of Visiting Professor of Oboe at the Academy of Music in Krakow, Poland and has been a soloist with the St. Petersburg and Moscow Philharmonic orchestras in Russia. As a teacher, Dr. Ross stressed the importance of expression. For him, being a musician was an extension of being human. In order to make music, one must cross the threshold from producing technically accurate sounds into a mysterious and sometimes elusive realm of heart, love, compassion, gentleness, and joy. In Dan Ross’ studio, one learned that a musician capable of evoking strong emotions must first be a person of great character. Dan Ross excelled in all things musical, but more importantly, he was an excellent man. He may well be remembered as a great musician, a great performer and teacher, or as an innovator in the art of reed making. But his true legacy lies in the hearts that he touched and the lives that he molded. I count myself fortunate to have been one of many. Sonar’s Riddle is a brief musical portrait of Dr. Dan Ross, attempting to capture the essence of his kind spirit and boundless humor.
$12.99
12.07 €
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Basson
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Craig Wadley
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Sonar's Riddle
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Wadley Publications
#
SheetMusicPlus
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
Quatuor de Cuivres: 2 trompettes, Cor, trombone
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 C…
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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 WorksFinally, 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.HomophonyHence, 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.
$47.95
44.54 €
#
Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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jmsgu3
#
SheetMusicPlus
Sinfonia N. 9
Chorale SATB
Mixed choir (SATB) and orchestra - Digital Download SKU: S9.Q3162 Für gemisch…
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Mixed choir (SATB) and orchestra - Digital Download SKU: S9.Q3162 Für gemischten Chor und Orchester. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 55 minutes. Schott Music - Digital #Q3162. Published by Schott Music - Digital (S9.Q3162). German.The theme of Henze’s Ninth Symphony is his German homeland as he remembers it during the days of his youth and during the war years. He has written this work in homage to all the people who fought back against the oppression of the Third Reich and sacrificed their lives for freedom of thought. Hans-Ulrich Treichel adapted the text from a poem by Anna Seghers. Henze has called the symphony ‘an apotheosis of the terrible and the painful’. The pinnacle of his prolific and varied œuvre, it is worlds apart from ‘Freude schöner Götterfunken’.My Ninth Symphony deals with my German homeland – as it appeared to me when I was a young man, during the war, and even earlier. Instead of hymning joy, the beautiful divine spark, the men and women of my Ninth Symphony spend the evening conjuring up a world of horror and persecution that is still with us today and that continues to cast its shadows over us. Hans Werner Henze3 (2. auch Picc., 3. auch Picc. u. Altfl.) · 3 (2. auch Ob. d'am., 3. auch Engl. Hr.) · Heckelphon · 3 (2. auch Kb.-Klar., 3. auch Bassklar.) · 3 (3. auch Kfg.) - 6 · 4 · 5 (1. Alt-, 2. u. 3. Tenor-, 4. Bass-, 5. Kb.-Pos.) · 1 (im 6. Satz Kb.-Tb.) - P. S. (3 hg. Beck. [h./m./t.] · Beckenpaar · 3 Tamt. [h./m./t.] · 3 Tomt. [h./m./t.] · 3 Bong. [h./m./t.] · Tamb. · kl. Tr. · gr. Tr. [mit und ohne Beck.] · Woodbl. · Metallbl. · hg. Glasplättchen · Kast. · Mar. · Guiros [normal und sehr groß] · Ratsche · Peitsche · Amboss · Donnerblech · Bronzeplatte · Polizeipf. [Trillerpf.] · Sir. · 3 Flex. [verschiedene Tonhöhen] · Tempelbl. · Crot. · Röhrengl. · chin. Gongs · Glsp. · Vibr. · Marimba) (7 Spieler) - Hfe. · Cel. · Klav. · Org. (nur im 6. Satz) - Str.
$55.99
52.01 €
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Chorale SATB
#
Hans Werner Henze
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Sinfonia N. 9
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Schott Music - Digital
#
SheetMusicPlus
G. Rossini - Overture to "La Gazza Ladra" (The Thieving Magpie) for Clarinet Quartet
Quatuor de Clarinettes: 4 clarinettes
Woodwind Ensemble,Woodwind Quartet Clarinet - Level 5 - Digital Download SKU: A0.909543…
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Woodwind Ensemble,Woodwind Quartet Clarinet - Level 5 - Digital Download SKU: A0.909543 Composed by Gioachino Rossini. Arranged by Pierpaolo Romani. Classical,Opera. 56 pages. Pierpaolo Romani #5319415. Published by Pierpaolo Romani (A0.909543). The pitch of the sinfonia has been transposed up by a minor second for a more suitable tuning for the B flat and E flat clarinets. The line up of the original arrangement is: Piccolo in E flat Clarinet in B flat Basset Horn in F Bass Clarinet in B flat This publication provides two alternative parts for the basset horn line: one for B flat clarinet and one for alto clarinet in E flat. This arrangement was first performed by the Two-Fol Quartet in Italy, August 2013.
$11.90
11.05 €
#
Quatuor de Clarinettes: 4 clarinettes
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Gioachino Rossini
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Pierpaolo Romani
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G. Rossini - Overture to "La Gazza Ladra"
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Pierpaolo Romani
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 particular 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 WorksGabrieli 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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 WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments 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.
$47.95
44.54 €
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233
(+)
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was instead 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 particular 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 WorksGabrieli 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can sound perfectly in balance in contrast.First WorksFinally, Gabrieli published his first motets and 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 shown by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
44.54 €
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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 WorksFinally, 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.HomophonyHence, 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.
$47.95
44.54 €
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Co…
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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 WorksFinally, 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.HomophonyHence, 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.
$47.95
44.54 €
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
#
jmsgu3
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SheetMusicPlus
Geschwindmarsch by Beethoven
Orchestre d'harmonie
(6 Flöten, Piccolo, 2 Oboen, Englischhorn, 12 Klarinetten in B, Bass-Klarinette, 2 Fago…
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(6 Flöten, Piccolo, 2 Oboen, Englischhorn, 12 Klarinetten in B, Bass-Klarinette, 2 Fagotte, Kontrafagott, 4 Hörner in F, 10 Trompeten in B, 6 Posaunen, 6 Tuben, Pauke, Schlagzeug (kleine Trommel, Becken, Triangel, Glockenspiel, Celesta) wind band - Digital Download SKU: S9.Q2827 Paraphrase from the Sinfonia Serena. Composed by Paul Hindemith. This edition: score. Downloadable, Score. Duration 4 minutes. Schott Music - Digital #Q2827. Published by Schott Music - Digital (S9.Q2827).
$19.99
18.57 €
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Orchestre d'harmonie
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Paul Hindemith
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Geschwindmarsch by Beethoven
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Schott Music - Digital
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SheetMusicPlus
Bach for Trombone Trio, Vol. II
3 Trombones (trio)
Brass Ensemble Trombone - Digital Download SKU: A0.928144 Composed by Johann Sebast…
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Brass Ensemble Trombone - Digital Download SKU: A0.928144 Composed by Johann Sebastian Bach. Arranged by P. F. Strohm. Baroque,Contest,Festival,Instructional,Standards. Score and parts. 76 pages. Pete Strohm Music #5041137. Published by Pete Strohm Music (A0.928144). Volume II of this series, containing five J.S. Bach keyboard works from Inventions and Sinfonias, expertly arranged for three Trombones (2 Tenor 1 Bass). This edition contains tempos, ornamentation, articulation and dynamics to help guide players with less experience performing baroque music. Ornaments are authentic, either from Bach or his immediate students. Tempos, dynamics, and most articulations are my recommendations. The first trombone part is provided in both tenor and bass clef. There are also two sets of first and second parts, one with original ornaments and one with the ornaments realized in suggested notation, as well as a guide to interpreting ornaments. The Bass Trombone has no ornaments added. Performers are, of course, free to devise their own interpretations.Each volume of Bach for Trombone Trio is carefully compiled to work as a single, compatible set with a playing time under ten minutes, excellent for use in both contest and recital. Medium-Advanced level of difficulty. Performance time for all five works is 8:17. Member, ASCAP.
$9.95
9.24 €
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3 Trombones (trio)
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Johann Sebastian Bach
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P
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Bach for Trombone Trio, Vol. II
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Pete Strohm Music
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SheetMusicPlus
Bach for Trombone Trio, Vol. III
3 Trombones (trio)
Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.928154 Composed by Joh…
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Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.928154 Composed by Johann Sebastian Bach. Arranged by P. F. Strohm. Baroque,Contest,Festival,Instructional,Sacred. Score and parts. 76 pages. Pete Strohm Music #5372141. Published by Pete Strohm Music (A0.928154). Volume III of this series, containing five J.S. Bach keyboard works fromThe Well-Tempered Clavier and Inventions and Sinfonias, expertly arranged for three Trombones (2 Tenor 1 Bass). This edition contains tempos, ornamentation, articulation and dynamics to help guide players with less experience performing baroque music. Ornaments are authentic, either from Bach or his immediate students. Tempos, dynamics, and most articulations are my recommendations. The first trombone part is provided in both tenor and bass clef. There are also two sets of first and second parts, one with original ornaments and one with the ornaments realized in suggested notation, as well as a guide to interpreting ornaments. The Bass Trombone has no ornaments added. Performers are, of course, free to devise their own interpretations. Each volume of Bach for Trombone Trio is carefully compiled to work as a single, compatible set with a playing time under ten minutes, excellent for use in both contest and recital. Performance time for all works is 7:57. Member, ASCAP.
$9.95
9.24 €
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3 Trombones (trio)
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Johann Sebastian Bach
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P
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Bach for Trombone Trio, Vol. III
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Pete Strohm Music
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SheetMusicPlus
Bach for Trombone Trio, Vol. I
3 Trombones (trio)
Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.928143 Composed by Joh…
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Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.928143 Composed by Johann Sebastian Bach. Arranged by P. F. Strohm. Baroque,Contest,Festival,Instructional,Standards. Score and parts. 88 pages. Pete Strohm Music #5041135. Published by Pete Strohm Music (A0.928143). Volume I of this series, containing five J.S. Bach keyboard works from The Well-Tempered Clavier and Inventions and Sinfonias, expertly arranged for three Trombones (2 Tenor, 1 Bass). This new edition contains tempos, ornamentation, articulation and dynamics to help guide players with less experience performing baroque music. Ornaments are authentic, either from Bach or his immediate students. Tempos, dynamics, and most articulations are my recommendations. The first trombone part is provided in both tenor and bass clefs. There are two complete sets of parts, one with original ornaments and one with the ornaments realized in suggested notation, as well as a guide to interpreting ornaments. Performers are, of course, free to devise their own interpretations.Each volume of Bach for Trombone Trio is carefully compiled to work as a single, compatible set with a playing time under ten minutes, excellent for use in both contest and recital. Medium-Advanced level of difficulty. Performance time for all five works is 8:47. Member, ASCAP.
$9.95
9.24 €
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3 Trombones (trio)
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Johann Sebastian Bach
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P
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Bach for Trombone Trio, Vol. I
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Pete Strohm Music
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SheetMusicPlus
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