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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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BOUZOUKI
CHORALE - CHAN…
CITHARE
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DEEJAY
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Non classifié
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1
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9
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1
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1
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1
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Violoncelle, Piano
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Trio à Cordes: violon, alto, violoncelle
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Harpe
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Violoncelle, Contrebasse (duo)
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2 Altos (duo)
1
Violon, Violoncelle, Clarinette
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Harpe, Violoncelle (duo)
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Alto et Harpe
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Violon, Violoncelle (duo)
1
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73 partitions trouvées
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51
J. S. Bach: Air from the Third Orchestral Suite, - 2 oboes, english horn and bassoon by P
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Classique
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Johann Sebastian Bach
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Paul Wehage
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J. S. Bach: Air from the Third
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Musik Fabrik Music Publishing
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 3 - SKU: A0.533237 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baro...
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 3 - SKU: A0.533237 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Contemporary,Wedding. 8 pages. Musik Fabrik Music Publishing #2150991. Published by Musik Fabrik Music Publishing (A0.533237). The famous Air on a G String from the Third Orchestral Suite arranged for double reed quartet. As it was originally meant for the entrance of a Lady, this work would be suitable for a wedding entrance march.
$11.95
The Four Seasons, Autumn, Third Movement (string trio)
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Classique
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Antonio Vivaldi
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Lena Seeger
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The Four Seasons, Autumn, Thir
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Lena A Seeger
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SheetMusicPlus
String Ensemble,String Trio - Level 3 - SKU: A0.716177 Composed by Antonio Vivaldi. Arranged by Lena Seeger. Baroque,Wedding. Score and parts. 11 pages....
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String Ensemble,String Trio - Level 3 - SKU: A0.716177 Composed by Antonio Vivaldi. Arranged by Lena Seeger. Baroque,Wedding. Score and parts. 11 pages. Lena A Seeger #4112307. Published by Lena A Seeger (A0.716177). The Hunt movement from The Four Seasons, the third movement of the Autumn concerto. Arranged for string quartet and edited for wedding gig purposes.
$6.99
2nd Oboe Sonata
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way of interpretive notes, I e
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Lenny Cavallaro
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2nd Oboe Sonata
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Forton Music - Digital
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SheetMusicPlus
Ob. Pft. - Intermediate - SKU: F2.FM490 Composed by Lenny Cavallaro. Oboe and Piano. Score and part. 27 pages. Forton Music - Digital #FM490. Published ...
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Ob. Pft. - Intermediate - SKU: F2.FM490 Composed by Lenny Cavallaro. Oboe and Piano. Score and part. 27 pages. Forton Music - Digital #FM490. Published by Forton Music - Digital (F2.FM490). ISBN 9790570483891.My Opus 2 - Sonata No. 2 in E minor for Oboe (or Flute) and Piano (or Harpsichord) is nother baroque style composition. Like the Op. 1 Sonata for the same instruments, it follows the familiar four movement structure common to the period. Unlike the earlier sonata, this work was conceived specifically for oboe, although one colleague has assured me it will work extremely well for flute, whilst another would like to try it with flauto traverso and harpsichord. Thus it retains the spirit of Bach, who frequently reset his works for other instrumentation. I have provided some dynamics and ornaments - certainly more than I have with my other baroque compostions. Nevertheless, I trust that performers, particularly those familiar with the baroque idiom, will not hesitate to embellish and improvise. By way of interpretive notes, I encourage performers to respect the metronomic suggestions for the second movement, which should probably not be attempted at too rapid a tempo. The third movement concludes molto ritardande, and by the final measure the two left-hand eighth notes should be played nearly twice as slowl as written (i.e. as quarter notes). Finally, the fugato in the last movement (upbeat to m. 83) should be performed in the baroque style, without overemphasis of the thematic entries.
$10.95
Minuet by Boccherini for Trombone Quintet
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Luigi Boccherini
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Ander
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Minuet by Boccherini for Tromb
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Woods Only, Arrangements
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SheetMusicPlus
Trombone Quintet - Level 3 - SKU: A0.1255017 Composed by Luigi Boccherini. Arranged by Ander. Baroque,Classical,Instructional,Traditional,Wedding. 8 pag...
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Trombone Quintet - Level 3 - SKU: A0.1255017 Composed by Luigi Boccherini. Arranged by Ander. Baroque,Classical,Instructional,Traditional,Wedding. 8 pages. Woods Only, Arrangements #848606. Published by Woods Only, Arrangements (A0.1255017). This simple arrangement adapted for trombone quintet was imagined for a group of beginner students who want to start their immersion in classical music, of course with the help of a teacher. Even though the original work is for strings, this did not prevent this beautiful adaptation, where the original essence of the work was maintained, being made only an adaptation of the tonality and some adaptations in the tessitura of the instruments. This piece can be used for professional and academic recitals, didactic material and repertoire for ensemble practice as well, which does not prevent professional musicians and instructors from using it for performances of their preference.Luigi Boccherini was born in the city of Lucca, in northern Italy. He studied cello and became a virtuoso who eventually moved to Spain, where he worked with the Spanish royal family for the rest of his life. His String Quintet in E major, Op. 11, No. 5, G 275, was written in 1771 and published in 1775, and is one of his most famous works.The quintet is famous for its minuet and trio, third movement which is often played as an independent piece outside the context of the full quintet. This is notably the most famous, it is in 3/4 time, in the key of E Major modulating to A Major. This is a beautiful work, and not just the third movement, with good partial writing for all. The lovely, flowing melodies and rhythms are typical of Boccherini. The quintet is suitable for both concerts and home performances.
$9.99
Minuet by Boccherini for Tuba Quintet
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Luigi Boccherini
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Ander
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Minuet by Boccherini for Tuba
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Woods Only, Arrangements
#
SheetMusicPlus
Low Brass Quintet,Tuba - Level 3 - SKU: A0.1255018 Composed by Luigi Boccherini. Arranged by Ander. Baroque,Classical,Instructional,Traditional,Wedding....
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Low Brass Quintet,Tuba - Level 3 - SKU: A0.1255018 Composed by Luigi Boccherini. Arranged by Ander. Baroque,Classical,Instructional,Traditional,Wedding. 8 pages. Woods Only, Arrangements #848607. Published by Woods Only, Arrangements (A0.1255018). This simple arrangement adapted for tuba quintet was imagined for a group of beginner students who want to start their immersion in classical music, of course with the help of a teacher. Even though the original work is for strings, this did not prevent this beautiful adaptation, where the original essence of the work was maintained, being made only an adaptation of the tonality and some adaptations in the tessitura of the instruments. This piece can be used for professional and academic recitals, didactic material and repertoire for ensemble practice as well, which does not prevent professional musicians and instructors from using it for performances of their preference.Luigi Boccherini was born in the city of Lucca, in northern Italy. He studied cello and became a virtuoso who eventually moved to Spain, where he worked with the Spanish royal family for the rest of his life. His String Quintet in E major, Op. 11, No. 5, G 275, was written in 1771 and published in 1775, and is one of his most famous works.The quintet is famous for its minuet and trio, third movement which is often played as an independent piece outside the context of the full quintet. This is notably the most famous, it is in 3/4 time, in the key of E Major modulating to A Major. This is a beautiful work, and not just the third movement, with good partial writing for all. The lovely, flowing melodies and rhythms are typical of Boccherini. The quintet is suitable for both concerts and home performances.
$9.99
Jesu, Joy of Man’s Desiring
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Classique
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Johann Sebastian Bach
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Marc Paquette
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Jesu, Joy of Man’s Desir
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The Note Shed
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SheetMusicPlus
Woodwind Ensemble Bassoon,Double Reed Trio,English Horn,Oboe - Level 3 - SKU: A0.1246835 Composed by Johann Sebastian Bach. Arranged by Marc Paquette. B...
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Woodwind Ensemble Bassoon,Double Reed Trio,English Horn,Oboe - Level 3 - SKU: A0.1246835 Composed by Johann Sebastian Bach. Arranged by Marc Paquette. Baroque,Christian,Classical,Religious,Wedding. 9 pages. The Note Shed #841496. Published by The Note Shed (A0.1246835). Scored for double reed trio (oboe, english horn, bassoon). Many think of this as a wedding song, however this is also a good choice for religious celebrations or adding some baroque music to your small ensemble repertoire. This also makes a great duet with the first and third parts.
$3.00
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Clarinet and Piano
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Classique
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Johann Sebastian Bach
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Kamada,Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Bassoon,Clarinet,Oboe,Piano - Level 3 - SKU: A0.1426546 Composed by Johann Sebastian Bach. Arranged by Kamada,Mikio. Baroque. 5 pages. ACORDO Sheet Musi...
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Bassoon,Clarinet,Oboe,Piano - Level 3 - SKU: A0.1426546 Composed by Johann Sebastian Bach. Arranged by Kamada,Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007246. Published by ACORDO Sheet Music (A0.1426546). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for oboe and clarinet. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Flute, Clarinet and Piano
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Classique
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Level 3 - SKU: A0.1426547 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007247. Published by ACOR...
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Level 3 - SKU: A0.1426547 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007247. Published by ACORDO Sheet Music (A0.1426547). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for flute and clarinet. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for two Clarinets and Piano
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Classique
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Bassoon,Clarinet,Piano - Level 3 - SKU: A0.1426548 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1...
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Bassoon,Clarinet,Piano - Level 3 - SKU: A0.1426548 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007248. Published by ACORDO Sheet Music (A0.1426548). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for Clarinets. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Cor Anglais and Piano
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Classique
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
English Horn,Oboe,Piano - Level 3 - SKU: A0.1426549 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #...
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English Horn,Oboe,Piano - Level 3 - SKU: A0.1426549 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1007249. Published by ACORDO Sheet Music (A0.1426549). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for Oboe and Cor Anglais. The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60
" Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Flute and Piano "
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Classique
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Johann Sebastian Bach
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Kamada, Mikio
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" Sinfonia from Cantata &
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ACORDO Sheet Music
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SheetMusicPlus
Bassoon,Flute,Oboe,Piano - Level 3 - SKU: A0.1422054 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music ...
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Bassoon,Flute,Oboe,Piano - Level 3 - SKU: A0.1422054 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #1003395. Published by ACORDO Sheet Music (A0.1422054). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The solo parts are originally for oboe and violin, but in this arrangement, they are for oboe and flute.  The bassoon (or cello) part is the same as the piano's left hand and is optional.
$3.60
Entrance of the Muses (The Arts and the Hours) for 4 violas
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Jean-Philippe Rameau
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Marian Wilson
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Entrance of the Muses
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Marian Wilson
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SheetMusicPlus
String Ensemble Viola - Level 3 - SKU: A0.1416147 Composed by Jean-Philippe Rameau. Arranged by Marian Wilson. Baroque,Chamber,Classical,Wedding. 9 page...
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String Ensemble Viola - Level 3 - SKU: A0.1416147 Composed by Jean-Philippe Rameau. Arranged by Marian Wilson. Baroque,Chamber,Classical,Wedding. 9 pages. Marian Wilson #997836. Published by Marian Wilson (A0.1416147). For viola quartet: a sweet and gentle arrangement of The Arts and the Hours from Rameau's Les Boreades. Every part remains in third position or below.
$5.99
Sinfonia from Cantata "Ich hatte viel Bekummerniss", BWV 21 for Oboe, Violin and Piano
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Classique
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Johann Sebastian Bach
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Kamada, Mikio
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Sinfonia from Cantata "Ic
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ACORDO Sheet Music
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SheetMusicPlus
Cello,Oboe,Piano,Violin - Level 3 - SKU: A0.1417698 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #...
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Cello,Oboe,Piano,Violin - Level 3 - SKU: A0.1417698 Composed by Johann Sebastian Bach. Arranged by Kamada, Mikio. Baroque. 5 pages. ACORDO Sheet Music #999237. Published by ACORDO Sheet Music (A0.1417698). Johann Sebastian Bach composed the cantata Ich hatte viel Bekümmernis BWV 21 during the Weimar period. Craig Smith of Emmanuel Music suggested that this work was not only written to accompany the readings for the third Sunday after Trinity, but also to bid farewell to the gravely ill Prince Johann Ernst of Sachsen-Weimar, one of Bach's talented students. However, at the time, Prince Johann was seriously ill and was on his way to Swabia for recovery.The first movement, Sinfonia, is a deeply sorrowful piece, characterized by a rich dialogue between the oboe and violin. Julian Mincham of The Cantatas of Johann Sebastian Bach described it is a continuous discourse between oboe and first violin, quite possibly suggestive of the dialogue structure (Christ and the Soul) to be found in later movements, however, it sounds like a dialogue between the Prince and Bach for me.The string ensemble part was transcribed for piano to make it easier to play. The cello part is the same as the piano's left hand and is optional.
$3.60
Sonata No.5 Op.3
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Spence Bundy
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Spence Bundy
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Sonata No.5 Op.3
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Spencer Bundy
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bass Clarinet - Level 3 - SKU: A0.1193431 By Spence Bundy. By Arcangelo Corelli. Arranged by Spence Bundy. Baroque,Chamb...
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Woodwind Ensemble,Woodwind Trio Bass Clarinet - Level 3 - SKU: A0.1193431 By Spence Bundy. By Arcangelo Corelli. Arranged by Spence Bundy. Baroque,Chamber. 20 pages. Spencer Bundy #792893. Published by Spencer Bundy (A0.1193431). This lovely piece is from Corelli's third set of twelve sonatas. Originally published in 1689, they can still be enjoyed today. Ideal as concert material or for any group playing together for fun.
$4.50
Sonata No.5 Op.3
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Spence Bundy
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Spence Bundy
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Sonata No.5 Op.3
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Spencer Bundy
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SheetMusicPlus
Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet - Level 3 - SKU: A0.1193989 By Spence Bundy. By Arcangelo Corelli. Arranged by Spence Bundy. Baroque,Ch...
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Woodwind Ensemble,Woodwind Trio Bassoon,Clarinet - Level 3 - SKU: A0.1193989 By Spence Bundy. By Arcangelo Corelli. Arranged by Spence Bundy. Baroque,Chamber. 20 pages. Spencer Bundy #793464. Published by Spencer Bundy (A0.1193989). This lovely piece is from Corelli's third set of twelve sonatas, originally published in 1689. They can still be enjoyed today, perfect for concerts but also fun for any group to play together.
$4.50
Suite no 1
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Phillip Rawle
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Suite no 1
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Forton Music - Digital
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SheetMusicPlus
Flute Ens - Intermediate-Advanced - SKU: F2.FM170 Composed by Phillip Rawle. Score and parts. 57 pages. Forton Music - Digital #FM170. Published by Fort...
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Flute Ens - Intermediate-Advanced - SKU: F2.FM170 Composed by Phillip Rawle. Score and parts. 57 pages. Forton Music - Digital #FM170. Published by Forton Music - Digital (F2.FM170). ISBN 9790570480692.A four movement suite for large flute choir. Scored for PIccolo, optional G treble, 4 flutes, alto flute, bass flute, optional contr'alto, optional contrabass, optional subcontrabass. The first movement is a lively Presto, with passages reminiscent of English folk music, impressive fanfares and baroque style passage work. This is followed by a slower more wistful movement with rich chromatic harmonies. The third movement is slower again, with a florid piccolo solo in the central section accompanied by flowing semiquavers in all parts. The final movement is marked 'Dolente' and features rich jazz harmonies in slow tempo. This is a great piece for large flute choirs to include in their repertoire; the inclusion of the largest members of the flute family gives a depth and richness to the chords that is in credible. Suitable for players of Grade 4 upwards.
$19.95
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...
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Level 3 - 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
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - 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
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - 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
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - 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
The Wedding Album, for Solo Horn in Eb and Piano
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Film Walt Disney
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Various
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David McKeown
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The Wedding Album, for Solo Ho
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David McKeown
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SheetMusicPlus
Small Ensemble E-Flat Tenor Horn,Instrumental Solo,Piano - Level 3 - SKU: A0.587627 Composed by Various. Arranged by David McKeown. Baroque,Romantic Per...
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Small Ensemble E-Flat Tenor Horn,Instrumental Solo,Piano - Level 3 - SKU: A0.587627 Composed by Various. Arranged by David McKeown. Baroque,Romantic Period,Standards,Wedding. Score and individual part. 24 pages. David McKeown #4594693. Published by David McKeown (A0.587627). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Horn in Eb with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as Here Comes the Bride. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on thetrumpet stop. Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.These four arrangements are also available as single titles for $3.99 each. You can find these along with many more top quality arrangements and compositions by David McKeown at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
Gigue in G minor from Water Music
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Classique
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G
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Lena Seeger
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Gigue in G minor from Water Mu
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Lena A Seeger
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SheetMusicPlus
Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.716281 Composed by G. F. Handel. Arranged by Lena Seeger. Baroque. 11 pages. Lena A Seeger #...
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Woodwind Ensemble Alto Flute,Bass Flute - Level 3 - SKU: A0.716281 Composed by G. F. Handel. Arranged by Lena Seeger. Baroque. 11 pages. Lena A Seeger #5791279. Published by Lena A Seeger (A0.716281). A G minor gigue from Handel's third Water Music Suite, arranged for flute choir. For 3 to 8 players, with extra copies of each part included.
$3.99
Fantasia #3 For 4 Viols - for Wind Quartet
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Classique
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Thomas Lupo
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R
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Fantasia #3 For 4 Viols - for
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R. Nhomi
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SheetMusicPlus
Bass Trombone,Clarinet,Horn,Trumpet - Level 3 - SKU: A0.1013428 Composed by Thomas Lupo. Arranged by R. Nhomi. Baroque. 10 pages. R. Nhomi #6206117. Pub...
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Bass Trombone,Clarinet,Horn,Trumpet - Level 3 - SKU: A0.1013428 Composed by Thomas Lupo. Arranged by R. Nhomi. Baroque. 10 pages. R. Nhomi #6206117. Published by R. Nhomi (A0.1013428). Wind quartet arrangement of Fantasia #3 for 4 Viols by Thomas Lupo. Arranged for Bb Clarinet, Bb Trumpet, F Horn, Bass Trombone. Third in a collection of 13 pieces for 4 Viols.
$11.75
Fantasia (Air) #7 For 4 Viols - for Wind Quartet
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Classique
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Thomas Lupo
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R
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Fantasia
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R. Nhomi
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SheetMusicPlus
Bass Trombone,Clarinet,Horn,Trumpet - Level 3 - SKU: A0.1013437 Composed by Thomas Lupo. Arranged by R. Nhomi. Baroque. 8 pages. R. Nhomi #6207281. Publ...
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Bass Trombone,Clarinet,Horn,Trumpet - Level 3 - SKU: A0.1013437 Composed by Thomas Lupo. Arranged by R. Nhomi. Baroque. 8 pages. R. Nhomi #6207281. Published by R. Nhomi (A0.1013437). Wind quartet arrangement of Fantasia (Air) # 7 For 4 Viols by Thomas Lupo. Arranged for Bb Clarinet, Bb Trumpet, F Horn, Bass Trombone. Third (Air) in a collection of 13 pieces for 4 Viols (7 Fantasias, 6 Airs).
$11.75
Sonata No.3
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Arcangelo Corelli
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Spence Bundy
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Sonata No.3
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Spencer Bundy
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SheetMusicPlus
Small Ensemble Bassoon,Clarinet,Horn - Level 3 - SKU: A0.837824 Composed by Arcangelo Corelli. Arranged by Spence Bundy. Baroque,Concert. Score and part...
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Small Ensemble Bassoon,Clarinet,Horn - Level 3 - SKU: A0.837824 Composed by Arcangelo Corelli. Arranged by Spence Bundy. Baroque,Concert. Score and parts. 24 pages. Spencer Bundy #6322383. Published by Spencer Bundy (A0.837824). The third sonata from a set of twelve. They work well transcribed for wind and this lovely piece will be enjoyed by both the players and the audience.
$4.50
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