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VOICE
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14842
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5138
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4603
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1684
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80
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39
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31
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3
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2
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2
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2
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WOODWIND
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1239
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236
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198
Flute Quartet: 4 flutes
167
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165
Flute, Oboe, Clarinet, Bassoon
125
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115
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91
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82
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73
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72
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59
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3
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33
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4
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Euphonium, Tuba (duet)
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2 Tubas (duet)
4
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4 Tubas
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English Horn
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2 Euphoniums and 2 Tubas
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3 French horns (trio)
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4 Euphoniums
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67
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44
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35
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29
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28
4 Cellos
27
String quartet: 4 violins
18
2 Violins (duet)
17
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17
Double Bass
16
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12
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11
2 Cellos (duet)
11
String Trio: 3 violins
10
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8
2 Violas (duet)
7
Piano Trio: Violin, Viola, Piano
7
String Trio: 2 violins, cello
7
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6
String Quintet: 2 violins, viola, cello, bass
3
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String trio
2
String Quintet: 2 violins, 2 violas, cello
2
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Handbells
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Marimba
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Flexible Instrumentation
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Musical course - Solfege
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9976
The Angel Rolled The Stone Away - Choir And Organ / Oboe / 2 Trumpets
By Traditional. Arranged by Jan Mulder. For SATB choir, organ, oboe and two trumpets . Sa…
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By Traditional. Arranged by Jan Mulder. For SATB choir, organ, oboe and two trumpets . Sacred. Text language: English. 3 pages. Published by John Miller Publishing
$1.65
1.51 €
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Traditional
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The Angel Rolled The Stone Away - Choir And Organ / Oboe / 2 Trumpets
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John Miller Publishing
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SheetMusicPlus
The Mall and the Night Visitor - ChoirTrax CD
Children's Choir, Choral (ChoirTrax CD) SKU: HL.8738040 Composed by Betty Hager and…
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Children's Choir, Choral (ChoirTrax CD) SKU: HL.8738040 Composed by Betty Hager and Fred Bock. Fred Bock Publications. Christmas, Christmas Sacred, Collection. CD only. Fred Bock Music Company #BGTC0845. Published by Fred Bock Music Company (HL.8738040). UPC: 073999380408. 5x5.5 inches. Betty Hager & Fred Bock.Can the true spirit of Christmas be found anywhere these days? In this delightful musical,an investigative angel, dressed to look like Sherlock Holmes, is sent from Heaven to look for Christmas spirit at popular shopping malls around the country. There he finds stores dispensing all sorts of holiday spirits (mostly the wrong kind) until everyone's attention is drawn to the creche display and the baby Jesus. He is the true spirit of Christmas. Available:Director's Edition, Singer's Edition, Accompaniment Track Cassette, Listening Cassette, Preview Pak (Singer's Edition and Listening Cassette), Posters, and Bulletins.
$75.00
68.82 €
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Betty Hager and Fred Bock
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The Mall and the Night Visitor - ChoirTrax CD
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Fred Bock Music Company
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SheetMusicPlus
Omnes Gentes Plaudite - Motet for 16-part Trombone Choir
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792525 Composed by Gio…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792525 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and parts. 44 pages. Gordon Cherry #5008311. Published by Gordon Cherry (A0.792525). Omnes Gentes Plaudite by Giovanni is a 16-part vocal motet in 4 choirs that has been transcribed for Trombone choir by Russell McKinney. As with most of Gabrieli’s works, there is a stereophonic effect produced by separating the choirs in the hall. Each choir has its opportunity to sound the melody, followed by the others choirs, augmenting the previous effect even more. This 4-minute work is appropriate for advanced performers.
$27.50
25.23 €
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Giovanni Gabrieli
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Omnes Gentes Plaudite - Motet for 16-part Trombone Choir
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Gordon Cherry
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SheetMusicPlus
Hosanna In Excelsis Deo (SAB Choir & Full Orchestra)
Large Ensemble,Strings B-Flat Clarinet,B-Flat Trumpet,Bassoon,Choir,Flute,Keyboard,Timpani…
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Large Ensemble,Strings B-Flat Clarinet,B-Flat Trumpet,Bassoon,Choir,Flute,Keyboard,Timpani,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.725085 By Paul Barker Music. By Paul Barker. Baroque,Christmas,Contemporary,Contest,Festival,Sacred. Score and parts. 58 pages. Paul Barker Music #2941693. Published by Paul Barker Music (A0.725085). Hosanna In Excelsis Deo is a vibrant contemporary concert piece set to traditional Latin text for SAB Choir and Full Orchestra. Refreshing sequential melodic lines and rousing orchestration make this piece ideal for choirs and orchestras of all sizes and performance occasions. The piece is designed to be very accessible to learn so suitable for youth and more advanced choirs and orchestras alike. Also available for SAB Choir & Keyboard, String Orchestra and as a spectacular arrangement for Full Orchestra. Includes Conductor Score, Choral Score and Instrumental Parts. Additional Vocal scores are available from this site and www.paulbarkermusic.com Professional Accompaniment MP3 is available from this site and directly from www.paulbarkermusic.com Duration: 2:40 Level: Intermediate (UK Grade 5+ & USA 2+) Occasion: Concert - Festivals - Concert Finale - Celebration Orchestration: SAB Choir - Full Orchestra
$32.95
30.23 €
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Paul Barker Music
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Hosanna In Excelsis Deo
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Paul Barker Music
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. A…
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String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. Jmsgu3 #3464715. Published by jmsgu3 (A0.549211). A musical monument: the first composition to employ dynamics. Instrumentation: 2 violins, 1 viola, 5 cellos 1 double bass. Arranged in two antiphonal choirs: I - string quartet, II - cello choir w/bass. The double bass part assumes low c extension; however, a non-extension bass part is included.Giovanni Gabrieli's Sonata Pian e Forte is essential as it represents the shift from the Renaissance to the Baroque period. It is part of his 1597 Sacrae symphoniae, which contains sixty-three choral and instrumental works, many in multi-choir formations. It is the first known composition in history to employ dynamics, with Gabrieli using specific notation to indicate instrumentation and experimenting with assembling massive instrumental forces into isolated groups separated by space. This innovation contributed heavily to the Baroque Concertato style and the development of the sonata, a musical form that came into general use toward the end of the sixteenth century. The structure of the piece is defined by the dialogue between two instrumental choirs, making it a key example of Gabrieli's influential contributions to the transition in musical style during his time.
$47.95
44 €
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Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It 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, followed by a response from the group on the other. 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 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 Works Finally, 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 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, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44 €
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Giovanni Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). 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.
$47.95
44 €
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. 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. Â
$47.95
44 €
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Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. 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 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.
$47.95
44 €
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Giovanni Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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jmsgu3
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SheetMusicPlus
Around and Around Again - 100 original four-part rounds for choirs
Choral Choir (4-Part) - Level 2 - Digital Download SKU: A0.779686 Composed by Kim K…
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Choral Choir (4-Part) - Level 2 - Digital Download SKU: A0.779686 Composed by Kim Kirkman. Contemporary,Instructional. Octavo. 64 pages. Kim Kirkman #6714159. Published by Kim Kirkman (A0.779686). Around and Around again. 100 original rounds for four-part choir. Fun, easy, challenging, topical - heaps of rounds for your warmups for choirComes with helpful written guide for each round.Very useful for helping a choir learn how to sight read, use their ears, memorise things and also sing in parts.Check out my other book of 100 rounds - around and around.
$2.50
2.29 €
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Kim Kirkman
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Around and Around Again - 100 original four-part rounds for choirs
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Kim Kirkman
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SheetMusicPlus
The Winding Creek (A Summer Song for Choirs)
Choir,Piano - Digital Download SKU: A0.1069506 Composed by Joanna Mills. Children,C…
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Choir,Piano - Digital Download SKU: A0.1069506 Composed by Joanna Mills. Children,Concert,Folk,Holiday,Patriotic,Standards. Accompaniment. Duration 179. Joanna Mills Music #6685355. Published by Joanna Mills Music (A0.1069506). This sweet and dreamy folk-style song evokes nostalgic summer memories of long hot days spent playing in a country creek. Arranged for Unison choir or 2-Part choir, it is set in an accessible key for children. Perfect for spring concerts or summer choir camps. Use this piano accompaniment track for rehearsals and performances of both the unison and 2-part arrangements.
$4.99
4.58 €
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Joanna Mills
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The Winding Creek
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Joanna Mills Music
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SheetMusicPlus
Christ Is Risen, Glory Hallelujah – SATB small choir ensemble
Small Ensemble Voice - Level 3 - Digital Download SKU: A0.920016 Composed by Shaula…
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Small Ensemble Voice - Level 3 - Digital Download SKU: A0.920016 Composed by Shaula Kitan Walko. A Cappella,Easter,Sacred. Score and parts. 10 pages. Shady Lady Music #6860365. Published by Shady Lady Music (A0.920016). SATB hymnal style scores for small church choir or chamber choir Christ Is Risen, Glory Hallelujah Words and music by Shaula Kitan Walko. Congregation, Church choral, A Cappella, Christian and parochial school choirs This is a set of nine SATB hymnal style scores. There are 10 pages total, including the cover. Minimum purchase is one copy. Christ Is Risen, Glory Hallelujah is a joyful, upbeat hymn written for congregation, church choir, and Christian or parochial school choir. Can be sung together throughout or performed as a call-and-response every two bars during the verses. This set contains nine SATB hymnal style scores.Individual copy—One SATB score, minimum purchase 10 copies:https://www.sheetmusicplus.com/title/christ-is-risen-glory-hallelujah-satb-score-only-digital-sheet-music/22265115Choir of 50 singers—Set of five SATB scores, minimum purchase 10 sets:https://www.sheetmusicplus.com/title/christ-is-risen-glory-hallelujah-satb-choir-of-50-singers-digital-sheet-music/22259919 Performance time with all three verses is about 1:44 at 132 bpm.          Â
$12.99
11.92 €
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Shaula Kitan Walko
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Christ Is Risen, Glory Hallelujah – SATB small choir ensemble
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Shady Lady Music
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SheetMusicPlus
Sing, Choirs of Angels
Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-19987 Arranged by …
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Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-19987 Arranged by Jay Althouse. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Christmas; Sacred. Part(s). 23 pages. Jubilate Music Group - Digital #00-19987. Published by Jubilate Music Group - Digital (JX.00-19987). English.A majestic Christmas medley incorporating four popular carols, including Hark! the Herald Angels Sing and O Come, All Ye Faithful. It's spirited and powerful, and features optional narration, solo trumpet for smaller choirs (opt., part included) and congregational singing. Larger choirs will enjoy the outstanding orchestration (InstruPax and InstruTrax CD available separately). Also a wonderful closer for school concerts.
$30.00
27.53 €
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Choral Octavo
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Sing, Choirs of Angels
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Jubilate Music Group - Digital
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SheetMusicPlus
In Concert! for Male Choirs - Reproducible Collection
TTB/TBB choir, TTBB choir - Digital Download SKU: LX.45-1092H Edited by Mary Lynn L…
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TTB/TBB choir, TTBB choir - Digital Download SKU: LX.45-1092H Edited by Mary Lynn Lightfoot. Choral Collection. Reproducible Collection. 49 pages. Heritage Music Press - Digital #e45/1092H. Published by Heritage Music Press - Digital (LX.45-1092H).
$49.95
45.83 €
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In Concert! for Male Choirs - Reproducible Collection
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Heritage Music Press - Digital
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SheetMusicPlus
Creative Use of Choirs in Worship, The (Vol. 2)-Digital Download
Choral, Creative Use Series - Digital Download SKU: H1.8013DP Composed by Hal H. Ho…
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Choral, Creative Use Series - Digital Download SKU: H1.8013DP Composed by Hal H. Hopson. Sacred. Creative Use Series. General Worship. Creative Use book. 232 pages. Hope Publishing - Digital #8013DP. Published by Hope Publishing - Digital (H1.8013DP). Volume 2 in The Creative Church Musician Series Contains ideas for over 1,000 hymn titles including choir stanzas, descants, choral interludes, codas and much more. All of the music may be reproduced for your choir.
$69.95
64.19 €
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Hal H
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Creative Use of Choirs in Worship, The
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Hope Publishing - Digital
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SheetMusicPlus
With Angel Choirs, Set 2 (Downloadable)
Unison voices, 2-part mixed voices, SAB choir, or SATB choir, organ - Easy to Medium - Dig…
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Unison voices, 2-part mixed voices, SAB choir, or SATB choir, organ - Easy to Medium - Digital Download SKU: MQ.50-9834-E Composed by Michael Burkhardt. 16 pages. MorningStar Music Publishers - Digital Sheet Music #50-9834-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-9834-E). Nine choral stanzas to be sung in the context of their respective hymns for Unison to SATB. Variety of styles and textures enhance the singing of hymns throughout the Church Year.Includes:Come, Let Us EatA VA DELet Us Break Bread TogetherBREAK BREAD TOGETHERSing, My TongueFORTUNATUS NEWBe Thou My VisionSLANEThy Strong WordEBENEZERHoly Spirit, Light DivineSONG 13By Grace I'm SavedO DASS ICH TAUSEND ZUNGEN HÄTTEAll Creatures of Our God and KingLASST UNS ERFREUENAt the Lambs High Feast We SingSONNE DER GERECHTIGKEIT.
$3.75
3.44 €
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Grace I'm Saved
O DASS ICH TAUSEND ZUNGEN HÄTTE
All Creatures of Our God and King
LASST UNS ERFREUEN
At the Lambs High Feast We Sing
SONNE DER GERECHTIGKEIT
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Michael Burkhardt
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With Angel Choirs, Set 2
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
With Angel Choirs, Set 1 (Downloadable)
Unison voices, 2-part mixed voices, SAB choir, SATB choir, or SATB divisi, organ - Easy to…
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Unison voices, 2-part mixed voices, SAB choir, SATB choir, or SATB divisi, organ - Easy to Medium - Digital Download SKU: MQ.50-9833-E Composed by Michael Burkhardt. 17 pages. MorningStar Music Publishers - Digital Sheet Music #50-9833-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-9833-E). Nine choral stanzas to be sung in the context of their respective hymns for Unison to SSATB. Innovative interpretations. Variety of styles and textures enhance the singing of hymns throughout the Church Year.CONTENTSCome, Christians, Join to Sing (SPANISH HYMN/MADRID)From All That Dwell Below the Skies (LASST UNS ERFREUEN)Oh, for a Thousand Tongues (AZMON)Come, O Long-Expected Jesus (JEFFERSON)Good Christian Friends, Rejoice (IN DULCI JUBILO)In Thee Is Gladness (IN DIR IST FREUDE)Love Consecrates the Humblest Act (TWENTY-FOURTH)Rejoice, O Pilgrim Throng (MARION)Come Away to the Skies (MIDDLEBURY).
$3.25
2.98 €
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Michael Burkhardt
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With Angel Choirs, Set 1
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Sarabande and Allegro from Concerto Grosso No 3 - Clarinet Quintets Or Choirs With Score
Clarinet; Clarinet Choir; Clarinet Quintet - Grade 3 SKU: HL.4479566 Clarinet Qu…
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Clarinet; Clarinet Choir; Clarinet Quintet - Grade 3 SKU: HL.4479566 Clarinet Quintet or Choir - Grade 3. Composed by George Frideric Handel. Arranged by H. Voxman. Rubank Solo/Ensemble Sheet. Contest. Full Score and Parts. 36 pages. Rubank Publications #RUBX748. Published by Rubank Publications (HL.4479566). UPC: 073999795660. 9.0x12.0x0.097 inches.
$9.99
9.17 €
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George Frideric Handel
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Clarinet Choir
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Sarabande and Allegro from Concerto Grosso No 3 - Clarinet Quintets Or Choirs With Score
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Rubank Publications
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SheetMusicPlus
A Christmas Lullaby (sung by the Alteri Choir)
Choir - Digital Download SKU: A0.1068423 Composed by Colin W Bayliss. 20th Century,…
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Choir - Digital Download SKU: A0.1068423 Composed by Colin W Bayliss. 20th Century,Christian,Christmas,Contemporary. Full Performance. Duration 410. Colin Bayliss #3408055. Published by Colin Bayliss (A0.1068423). This piece was written in April 2003 for the Thornesian Prize Competition for a piece for SATB. The composer, who sung in many choirs in his teens and twenties, before damaging his vocal chords, at last felt that he should write something for choir. The music uses a modal tune for the word lullaby, and interweaves this with the opening phrase of the 15th century Coventry Carol. Changing modulations and a few words and phrases are used to suggest the atmosphere of the coming of the angels and the three kings.
$2.50
2.29 €
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Colin W Bayliss
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A Christmas Lullaby
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Colin Bayliss
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SheetMusicPlus
Autumn Days (Piano Accompaniment Track for Choir)
Choir,Piano - Digital Download SKU: A0.1069493 Composed by Joanna Mills. 20th Centu…
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Choir,Piano - Digital Download SKU: A0.1069493 Composed by Joanna Mills. 20th Century,Children,Holiday,Standards. Accompaniment. Duration 216. Joanna Mills Music #5178551. Published by Joanna Mills Music (A0.1069493). Use this piano accompaniment track for rehearsals or performances of Autumn Days when you do not have an accompanist available! Set to a dreamy, original melody by Joanna Mills, Helen Hunt Jackson's poems October and November from A Calendar of Sonnets are adapted into a lovely song about the changing of the seasons from summer to fall. Perfect for fall or early winter concerts or Thanksgiving The piece is set in an accessible key for young voices and the piano score supports the choir, enabling even beginner choirs to learn this song melody easily.
$4.99
4.58 €
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Joanna Mills
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Autumn Days
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Joanna Mills Music
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SheetMusicPlus
Rumours of Spring SAA Choir Accompaniment Track
Choir,Piano - Digital Download SKU: A0.1069504 Composed by Joanna Mills. Arranged b…
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Choir,Piano - Digital Download SKU: A0.1069504 Composed by Joanna Mills. Arranged by Joanna Mills. 20th Century,Christmas,Folk,Pop. Accompaniment. Duration 151. Joanna Mills Music #6321151. Published by Joanna Mills Music (A0.1069504). This simple piano backing track is for use with Rumours of Spring for SAA choir (S0.1000971) is great for rehearsals or can be used in a concert setting for schools which don't have an accompanist. This pretty song expresses the sadness many of us experience in winter, and our hopeful longing for spring. Arranged here for SAA choirs, it is perfect for any secular fall, winter, or early spring concert. This arrangement is a little more complex than the SSA version, and features a soprano descant.
$4.99
4.58 €
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Joanna Mills
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Rumours of Spring SAA Choir Accompaniment Track
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Joanna Mills Music
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SheetMusicPlus
Echoes for Double Euphonium Choir
Euphonium - Level 4 - Digital Download SKU: A0.755057 Composed by Sy Brandon. 20th …
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Euphonium - Level 4 - Digital Download SKU: A0.755057 Composed by Sy Brandon. 20th Century,Contemporary. 46 pages. Sy Brandon #3358673. Published by Sy Brandon (A0.755057). (8 part Double Euphonium Choir) - This work was composed for and premiered at the 2005 International Euphonium Institute. The work is in one movement with four sections. The first and last sections are Allegro and explore antiphonal choir echoes and pyramids. The second section is Adagio and continues the antiphonal echoes between choirs and adds a fading echo in several measures. The third section explores echoes in a scherzo style.
$14.99
13.75 €
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Sy Brandon
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Echoes for Double Euphonium Choir
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Sy Brandon
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. 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.
$47.95
44 €
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Giovvanni Gabrieli
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. 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. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
44 €
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Giovanni Gabrieli
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giova…
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String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.  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 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.
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Giovanni Gabrieli
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Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
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jmsgu3
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