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11,811
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Piano solo
54
Piano, Voice
25
Piano Quintet: piano, 2 violins, viola, cello
23
C Instruments
20
Piano Accompaniment
13
Piano, Vocal and Guitar
11
Easy Piano
9
1 Piano, 4 hands
7
Piano Quartet: piano, violin, viola, cello
7
Piano Quintet: piano, violin, viola, cello, double bass
6
Organ
6
2 Pianos, 4 hands
4
Accordion
4
Piano Trio: piano, violin, cello
3
Piano Quartet: piano, 2 violins, cello
1
2 Accordions
1
2 Pianos, 8 hands
1
Piano (band part)
1
Organ, Trumpet (duet)
1
+ 14 instrumentations
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Guitars
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330
Melody line, (Lyrics) and Chords
19
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Piano, Guitar (duet)
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Guitar, Orchestra
1
Ukulele Ensemble
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Mandolin
1
2 Guitars (duet)
1
+ 9 instrumentations
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1,320
Choral SATB
138
Choral 3-part
22
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11
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Choral SSAATTBB
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2
Low voice, Piano
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Vocal duet
1
Choral SSATTB
1
+ 10 instrumentations
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111
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
94
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53
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41
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11
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11
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7
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7
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6
Flute Quintet : 5 flutes
6
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4
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4
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2
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2
3 Recorders (trio)
2
3 Oboes
2
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2
Oboe, Flute
2
Flute, Clarinet (duet)
2
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2
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2
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2
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2
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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473
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47
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19
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19
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16
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16
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16
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15
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10
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9
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7
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6
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5
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1
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1
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1
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1
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1
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1,934
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1,342
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354
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273
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51
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32
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DOUBLE BASS
Trumpet, Trombone (duet)
Sheetmusic to print
4 sheet music found
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1
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trumpet, Trombone (duet)
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EASY
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Giovanni Gabrieli
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James M
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1 Bass Trombone
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest...
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst 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 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 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 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
Vivaldi Double Cello Concerto for Two Brass Instruments in Bb Treble clef
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Trumpet, Trombone (duet)
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INTERMEDIATE
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Classical
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Antonio Vivaldi
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Dale Vail
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Vivaldi Double Cello Concerto
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Dale Vail
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SheetMusicPlus
Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1023929 Composed by Antonio Vivaldi. Arranged by Dale Vail. Baroque. 49 pages. Da...
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Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1023929 Composed by Antonio Vivaldi. Arranged by Dale Vail. Baroque. 49 pages. Dale Vail #6488477. Published by Dale Vail (A0.1023929). Concerto for Two Cellos by Vivaldi, arranged for two Brass instruments by Dale Vail Playing level: Grade 8 A transcription of the famous Vivaldi Concerto for Two Cellos. This version can be used for any combination of instruments in Bb or C Bass Clef. Parts in Treble Clef Bb, and Bass Clef in C for both parts. www.dalevail.com
$10.00
The Tulip Ch'Boogie for Trumpet and Trombone Duet
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Trumpet, Trombone (duet)
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INTERMEDIATE
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David McKeown
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The Tulip Ch'Boogie for Trumpe
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David McKeown
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.591361 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. ...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.591361 Composed by David McKeown. Blues,Easter,Pop,R & B,Rock. Score and parts. 3 pages. David McKeown #6292217. Published by David McKeown (A0.591361). The Tulip Ch’Boogie is a fun and original duet written by David McKeown for one Trumpet and one Trombone. The Tulip Ch’Boogie is one in a series of ten Easter-themed duets each written in a different American dance style. Boogie originally referred to the piano style found in Southern State bars where the driving swung bass-line, often double in octaves, cut through the noise. These bass-line patterns were adapted by Big Bands in the ‘30s, and later by Jump bands like that of Louis Jordan. Later still Boogie was quickly incorporated into Rockabilly and Rock’n’Roll. The Tulip Ch’Boogie is suitable for players at an intermediate level and above, with the accessible key and range balanced by the fast tempo and syncopated rhythms and accidentals. With a playing-time of around one and a half minutes, The Tulip Ch’Boogie is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$2.99
Merengue de Merlín, for Trumpet and Trombone Duet
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Trumpet, Trombone (duet)
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INTERMEDIATE
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David McKeown
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Merengue de Merlín, for Trump
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David McKeown
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.589088 Composed by David McKeown. Concert,Latin,Standards,World...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.589088 Composed by David McKeown. Concert,Latin,Standards,World. Score and parts. 8 pages. David McKeown #5744005. Published by David McKeown (A0.589088). Merengue de MerlÃn is an exciting original composition by David McKeown, arranged as a duet for one Trumpet and one Trombone.This duet is based on the traditional Latin style of Merengue that emerged in the Dominican Republic during the Nineteenth Century. Merengue Tipico bands maintain the traditional instrumentation of the double-headed tambora drum, güira, accordion and vocal, while urban bands in the North American diaspora often add saxophone, bass and other percussion. The Merengue dance became hugely popular in the 1950s and new forms continue to draw audiences around the world.If you play to an intermediate standard and upwards, then you and your audience will enjoy this piece. The steady quintilla tambora rhythm is present throughout, and following the precise articulation in the score will help convey the style. The main challenge is the fast tempo and melodies should be clearly articulated. Merengue de MerlÃn has a performance time of around two and a half minutes at full tempo. You can listen to a full performance the Alto Saxophone version of this duet by following the YouTube link above.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$3.99
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