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CORNET
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James Guthrie, ASCAP
Non classifié
587
Piano & claviers
Piano Quatuor: piano, violon, alto, violoncelle
25
Piano seul
11
Piano Trio: piano, violon, violoncelle
9
Piano Facile
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue
1
+ 1 instrumentations
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Guitares
Piano, Guitare (duo)
7
Voix
Chorale SATB
3
Vents
Flûte traversière et Piano
232
Clarinette et Piano
156
Hautbois, Piano (duo)
138
Saxophone Alto et Piano
119
Saxophone Soprano et Piano
115
Saxophone Tenor et Piano
115
Saxophone Baryton, Piano
111
Clarinette Basse, Piano
85
Cor anglais, Piano
78
2 Clarinettes (duo)
55
2 Flûtes traversières (duo)
52
2 Saxophones (duo)
49
Clarinette
48
2 Hautbois (duo)
15
Flûte, Violoncelle
10
Clarinette, Violoncelle (duo)
10
Piccolo, Piano
9
Ensemble de Flûtes
9
2 Cors Anglais Et Pianoforte
8
Hautbois, Basson (duo)
8
Quatuor de Saxophones: 4 saxophones
8
Trio de Flûtes: 3 flûtes
7
3 Clarinettes (trio)
7
Hautbois, Violoncelle
5
Ensemble de Clarinettes
5
3 Saxophones (trio)
4
Quatuor de Clarinettes: 4 clarinettes
4
Flûte, Alto (duo)
3
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3
Saxophone et violoncelle
3
Flûte traversière
2
Flûte, Violon
2
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2
Flûte, Violon et Violoncelle
2
Quatuor de Flûtes : 4 flûtes
2
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2
Flûte, Hautbois, Clarinette, Basson
1
Flûte, Basson et Piano
1
Clarinette, Violon (duo)
1
Clarinette Basse
1
Flûte, Clarinette (duo)
1
2 Flûtes traversières, Piano
1
Saxophone Baryton
1
Hautbois et alto (duo)
1
Flûte, Hautbois (duo)
1
Saxophone Alto
1
Flûte, Violoncelle, Piano (trio)
1
Hautbois
1
Flûte, Clarinette, Piano (trio)
1
Clarinette, Basson (duo)
1
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102
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92
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91
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78
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66
Tuba et Piano
36
Trompette
34
2 Trombones (duo)
12
2 Trompettes (duo)
12
2 Cors (duo)
12
2 Euphoniums (duo)
11
2 Cors Anglais Et Pianoforte
8
Cor, Violoncelle (duo)
5
Trompette, Trombone (duo)
5
Euphonium, Tuba (duo)
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Tuba et Orgue
3
Cor
3
Trombone, violoncelle (duo)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Tuba
2
Euphonium
2
Quatuor de Cuivres : 2 trompettes, trombone, tuba
2
Ensemble de Trombones
2
Quatuor de cuivres: 4 trombones
1
Trio de Cuivres
1
Trompette, Tuba (duo)
1
Trompette, Violoncelle (duo)
1
Trombone basse
1
Trombone basse et Piano
1
Trombone, Tuba (duo)
1
3 Trombones (trio)
1
+ 27 instrumentations
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Cordes
Violon et Piano
139
Alto, Piano
117
Violoncelle, Piano
116
Quatuor à cordes: 2 violons, alto, violoncelle
97
Trio à Cordes: violon, alto, violoncelle
36
2 Violoncelles (duo)
23
2 Altos (duo)
17
2 Violons (duo)
15
Alto, Violoncelle (duo)
12
Violon, Violoncelle (duo)
12
Harpe
8
Violon, Alto (duo)
8
Violoncelle
7
Trio à cordes
4
Trio à Cordes: 2 violons, violoncelle
3
Violon
2
Violon, Orgue
1
Trio à Cordes: 2 violons, alto
1
4 Violoncelles
1
Harpe, Violon (duo)
1
Trio à Cordes: 3 violoncelles
1
+ 16 instrumentations
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18
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8
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5
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2
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James Guthrie, ASCAP
Orchestre d'harmonie
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Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
#
Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...
(+)
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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.
$47.95 ≈
¥343.79
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
#
Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
(+)
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. 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 ≈
¥343.79
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