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FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
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HAUTBOIS
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MANDOLINE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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COR
CORNEMUSE
CORNET
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EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
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MANDOLINE
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ORCHESTRE
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CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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COUNTRY
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341
PIANO & CLAVIERS
Piano, Voix et Guitare
64
Piano, Voix
44
Piano seul
18
Instruments en Do
5
Orgue
4
Accompagnement Piano
3
1 Piano, 4 mains
1
Piano (partie séparée)
1
Orgue, Piano (duo)
1
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Ligne De Mélodie, (Paroles) et Accords
3
Guitare
2
Guitare notes et tablatures
2
VOIX
Chorale SATB
1292
Chorale 3 parties
452
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227
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163
Chorale 2 parties
154
Chorale Unison
82
Chorale
9
Voix duo
3
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3
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2
Chorale SSAB, Piano
2
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2
Soli, choeur mixte et accompagnement
1
Chorale SSATTB
1
Voix moyenne, Piano
1
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VENTS
Ensemble de Flûtes
28
Ensemble de Clarinettes
20
Flûte, Hautbois, Clarinette, Basson
8
Quatuor de Clarinettes: 4 clarinettes
8
Ensemble de saxophones
6
Quatuor de Saxophones: 4 saxophones
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
Quatuor de Flûtes : 4 flûtes
4
Flûte traversière
3
Hautbois (partie séparée)
2
Ensemble à vent
2
Clarinette et Piano
2
Flûte traversière et Piano
2
Saxophone Alto
2
Saxophone (partie séparée)
2
2 Clarinettes (duo)
1
Trio de Flûtes: 3 flûtes
1
Clarinette
1
Cor anglais, Piano
1
Quintette de Saxophone: 5 saxophones
1
Hautbois, Piano (duo)
1
Saxophone Tenor et Piano
1
2 Saxophones (duo)
1
Saxophone Soprano et Piano
1
Quintette de Flûte : 5 flûtes
1
2 Flûtes traversières (duo)
1
Flûte, Clarinette (duo)
1
Flûte à bec Soprano
1
Saxophone Alto et Piano
1
Quatuor de Flûtes à bec
1
Cor Anglais
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Ensemble de Trompettes
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trompette
2
Trombone
1
Ensemble de Trombones
1
Cor anglais, Piano
1
Cor
1
Trombone et Piano
1
Trompette, Piano
1
Tuba
1
Euphonium, Piano (duo)
1
2 Trompettes (duo)
1
Cor Anglais
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
9
Violon
5
Violoncelle
3
Alto seul
3
Alto, Piano
3
Violoncelle (partie séparée)
2
Contre Basse
2
Violoncelle, Piano
2
Violon et Piano
2
2 Violons (duo)
1
Violon, Alto (duo)
1
4 Violoncelles
1
2 Altos (duo)
1
Trio à cordes: 3 violins
1
Alto (partie séparée)
1
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PERCUSSIONS & ORCHESTRES
Cloches
77
Orchestre
34
Orchestre d'harmonie
30
Orchestre à Cordes
15
Ensemble de cuivres
10
Jazz combo
7
Orchestre de chambre
6
Ensemble Jazz
3
Ensemble de Percussions
1
Instrumentation Flexible
1
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I’m Gonna Sing When the Spirit Says Sing for 8-note Bells and Boomwhackers® (with Color Coded Notes)
Small Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Multi-Percussion,Orff Instrument,R…
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Small Ensemble Bells,Boomwhackers,Glockenspiel,Handbell,Multi-Percussion,Orff Instrument,Recorder,Ukulele,Voice,Xylophone - Level 3 - Digital Download SKU: A0.565149 By Sharon Wilson. By Spiritual. Arranged by Sharon Wilson. Children,Folk,Instructional,Sacred,Spiritual. Score and parts. 9 pages. Sharon Wilson #3497141. Published by Sharon Wilson (A0.565149). This sheet music is notated for handbells on one staff and Boomwhackers® on a second staff creating an instrumental ensemble (requires one set of each instrument). Handbells play the melody while the Boomwhackers® keep a steady beat with three-note chords. Included in this set of scores is a combined score with both instrument parts on a grand staff plus a separate 1-staff score for each instrument. This set of scores uses colored noteheads corresponding to the Boomwhackers® color scheme. Handbells sold by Rhythm Band or KidsPlay also use this same color scheme (other brands may use different color schemes). Using color coded notes helps beginning musicians learn to read standard sheet music notation. This set of scores is also available (separate purchase) in black and white which will print clearer if you do not have access to a color printer.Notes used for each instrument are as follows: Bells – D E G A B C* where C* is high C, one octave above middle C  Boomwhackers® – C D E G A B C*Though this sheet music is notated for Handbells and Boomwhackers®, this arrangement is playable by any 8-note, C major diatonic scale (one octave) instrument such as a xylophone or glockenspiel.Only filled noteheads (quarter and eighth notes) are used so the notes are easier to see (this does not indicate the bells need to be silenced immediately before the next beat). Also, only quarter and eighth rests are used to help visualize the number of beats per measure. Lyrics and chord names are provided as well to aid in the learning and teaching of this song. The staves are shown without sharps or flats for simplicity since even though this song is actually written in the key of G major, no sharps or flats are used.The number of ringers and whackers needed will vary depending on the skill level of the participants. For more advanced players, each person could be assigned two notes. For beginners, it is best to assign one note to each person. Instrument assignment suggestions are provided on the last page for 7 or 13 players.Other suggestions and uses: * have both parts played by bells or both parts played using only Boomwhackers®* form a choir using multiple sets of bells and/or Boomwhackers® (this would amplify the sound and allow more people to participate)* use as part of the music education for children at school, home, or church* these colorful, inexpensive instruments can be enjoyed by all ages and add a fun, unique element to activities and programs: senior centers, family reunions, church retreats, home school groups, just to name a few Permission is granted to make up to 10 copies of each score. For more than 10 copies, please purchase additional sets.TThis arrangement is one of the 10 songs included in the collection Ten Traditional Spirituals for 8-Note Bells and Boomwhackers®.Boomwhackers® is a registered trademark of Rhythm Band Instruments, LLC. Used by permission.Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
5.48 €
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Sharon Wilson
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Sharon Wilson
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I’m Gonna Sing When the Spirit Says Sing for 8-note Bells and Boomwhackers®
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Sharon Wilson
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SheetMusicPlus
Lascia ch'io pianga (for SAT choir - with piano accompaniment)
Choral Choir,Choral,SAT Chorus - Level 3 - Digital Download SKU: A0.1449261 Compose…
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Choral Choir,Choral,SAT Chorus - Level 3 - Digital Download SKU: A0.1449261 Composed by George Frideric Handel. Arranged by Rodrigo Faleiros. A Cappella,Baroque,Chamber,Opera. 4 pages. Rodrigo Faleiros #1028406. Published by Rodrigo Faleiros (A0.1449261). Explore Handel’s timeless aria “Lascia ch’io Pianga” in this carefully tailored arrangement for intermediate SAT choir. Whether your ensemble consists of seasoned singers or passionate amateurs, this sheet music brings together the expressive voices of soprano, alto and tenor to create a harmonious tapestry of classical melodies. Key Features: Intermediate Level: This arrangement strikes a balance between challenge and accessibility, making it ideal for intermediate choirs. SAT Choir: Each voice part - soprano, alto and tenor - has been thoughtfully crafted to allow singers to shine while maintaining a cohesive ensemble. Chord Symbols Included: Enhance your performance by incorporating chord symbols, allowing accompanists or instrumentalists to provide harmonic support. Piano Accompaniment: The piano part complements the vocal lines, adding depth and richness to the overall arrangement. Authentic Interpretation: While infusing your personal touch, stay true to the aria’s classical roots. Whether you’re preparing for formal recitals, community performances, or simply enjoying music together, this arrangement is a must-have for any SAT ensemble. ➡️ Check out my other choir arrangements by clicking here ⬅️
$1.99
1.82 €
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George Frideric Handel
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Rodrigo Faleiros
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Lascia ch'io pianga
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Rodrigo Faleiros
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SheetMusicPlus
Lascia ch'io pianga (for SAT choir - with piano accompaniment)
Choral Choir,Choral,SAT Chorus - Level 3 - Digital Download SKU: A0.1449260 Compose…
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Choral Choir,Choral,SAT Chorus - Level 3 - Digital Download SKU: A0.1449260 Composed by George Frideric Handel. Arranged by Rodrigo Faleiros. A Cappella,Baroque,Chamber,Opera. 4 pages. Rodrigo Faleiros #1028405. Published by Rodrigo Faleiros (A0.1449260). Explore Handel’s timeless aria “Lascia ch’io Pianga” in this carefully tailored arrangement for intermediate SAT choir. Whether your ensemble consists of seasoned singers or passionate amateurs, this sheet music brings together the expressive voices of soprano, alto and tenor to create a harmonious tapestry of classical melodies. Key Features: Intermediate Level: This arrangement strikes a balance between challenge and accessibility, making it ideal for intermediate choirs. SAT Choir: Each voice part - soprano, alto and tenor - has been thoughtfully crafted to allow singers to shine while maintaining a cohesive ensemble. Piano Accompaniment: The piano part complements the vocal lines, adding depth and richness to the overall arrangement. Authentic Interpretation: While infusing your personal touch, stay true to the aria’s classical roots. Whether you’re preparing for formal recitals, community performances, or simply enjoying music together, this arrangement is a must-have for any SAT ensemble. ➡️ Check out my other choir arrangements by clicking here ⬅️
$1.99
1.82 €
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George Frideric Handel
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Rodrigo Faleiros
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Lascia ch'io pianga
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Rodrigo Faleiros
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SheetMusicPlus
Eventide (Abide With Me) (Brass Trio)
Cornet,Euphonium,Horn - Level 3 - Digital Download SKU: A0.1356029 By Rita Arendz. …
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Cornet,Euphonium,Horn - Level 3 - Digital Download SKU: A0.1356029 By Rita Arendz. By William Henry Monk. Arranged by Rita Arendz. Christian,Praise & Worship,Religious,Sacred. 10 pages. Rita Arendz #940730. Published by Rita Arendz (A0.1356029). In 1853, still grieving for his three-year-old daughter's passing from brain ramollissement, the words of Scottish cleric Henry Lyte's hymn - Abide with me - came to English choirmaster William Monk's mind.  Although the hymn already had a tune, he was inspired by the thought of another and wrote the noble EVENTIDE within 10 minutes.  It was first published in 1861 in Hymns Ancient & Modern. It is performed at funerals, at Remembrance services, and even at sporting events (FA Cup).This setting is in the key of Eb Major, the same as the Hymnals, permitting it to be used as an accompaniment to singing and on its own.  The instrumental leads and harmonies differ for verses 1/3, 2/4 and verse 5.Instrumentation is for British Brass Band instruments of Cornet, Eb Tenor Horn, and Bb Euphonium (TC).  F Horn and Bass Clef Euphonium alternates are included.Duration ~ 4:40 10 pages.
$14.99
13.71 €
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Rita Arendz
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Rita Arendz
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Modern
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Eventide
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Rita Arendz
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SheetMusicPlus
Sing Lullaby (Downloadable Organ/Choral Score)
Tenor voice or soprano voice solo, SATB choir, organ - Medium - Digital Download SKU: M…
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Tenor voice or soprano voice solo, SATB choir, organ - Medium - Digital Download SKU: MQ.6414-E Composed by Leo Nestor. Christmas, Christmas-Sacred. Score & instrument parts. 13 pages. E. C. Schirmer Music Company - Digital #6414-E. Published by E. C. Schirmer Music Company - Digital (MQ.6414-E). Sing Lullaby was commissioned by music director Michael Batcho for the Choir of the Cathedral of St. John the Evangelist, Milwaukee and composed in California during the summer of 2000. Originally scored for tenor solo, mixed chorus, oboe, French horn and violoncello obbligato and organ, an independent fabric for string orchestra was composed for a performance by the Choir of the Basilica of the National Shrine of the Immaculate Conception on Christmas of the same year. The setting was further developed for the debut performance of The Catholic University of America Chamber Choir and Chamber Players at the Pope John Paul II Cultural Center in December of 2002. In the 2008 revision, the composer decided that the obbligato trio of clarinet, French horn and bassoon most clearly evoked the ethos of shepherds, offering optimal timbral contrast to string orchestra and chorus. Substantial emendations of the entire score were made for the present edition of Sing Lullaby, first performed by The Catholic University of America Chamber Choir, University Singers, University Chorus and Symphony Orchestra at the Annual Christmas Concert for Charity at Washington's Basilica of the National Shrine of the Immaculate Conception on 7 December 2012 with tenor Rick Christman, the composer conducting.Variation form, long favored by composers in settings of strophic music, imparts a perception of improvisation as singers and players alter harmonies, melody and rhythm to forward the unfolding narrative. Sensitive performance will caress the natural undulation of the largely ternary meter, tapering unstressed beats at the ends of phrases while maintaining the steady flow of the accompaniment.Two editions of the work are published: (I) for mixed chorus, solo, obbligato trio and organ and (II) for mixed chorus, solo, obbligato trio, string orchestra, harp and organ. The edition for chorus and obbligato instruments adds timbral variety to a Christmas concert while employing modest instrumental means which are easily available. Although in Version II both harp and organ are scored ad libitum, the harp adds significantly to the counterpoint of the obbligato instruments, providing further rhythmic impetus and textural variety. Conceived for lyric tenor, the solo may also be sung by soprano.
$2.65
2.42 €
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Leo Nestor
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Sing Lullaby
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
I'm Gonna Live So God Can Use Me - Congregational Set (for Lead, SATB choir, Piano, and Ensemble)
Large Ensemble B-Flat instrument,C Instrument,Cello,Choir,Clarinet,E-Flat Instrument,Flute…
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Large Ensemble B-Flat instrument,C Instrument,Cello,Choir,Clarinet,E-Flat Instrument,Flute,High Voice,Low Voice,Medium Voice,Oboe,Piano Accompaniment,Saxophone,Trombone,Trumpet,Violin - Level 3 - Digital Download SKU: A0.564609 By Sharon Wilson. By African-American Spiritual. Arranged by Sharon Wilson. Praise & Worship,Sacred,Spiritual,Traditional. Score and parts. 34 pages. Sharon Wilson #1501. Published by Sharon Wilson (A0.564609). No one need be left out in this fun, easy-to-learn arrangement which includes reproducible parts for the congregation and an eclectic ensemble of instruments (flute, oboe, violin, trumpet, clarinet, trombone, cello, saxophone, and others). The lead singer carries the melody while the SATB choir (or quartet) echoes with the harmony parts. After a verse or two, the congregation can join in using the reproducible lead sheet (or since the words are in the public domain, project them on a screen). The score includes four verses (I'm gonna live, work, pray, sing...) but the song can be made as long or short as desired by using fewer verses or repeating some or even adding more words in place of the four suggested. The Lead, SATB, and 2 additional harmony parts (a descant and bass line) are transcribed for C instruments and most parts are also transcribed for B-Flat and E-flat instruments. There is also a separate piano accompaniment score with the melody line (and guitar chords) for reference. Written in the key of F major, the vocal ranges are as follows: Lead--C4 to D5; Soprano--C4 to A4; Alto--A3 to F4; Tenor--F3 to C4; Baritone--C3 to A3. Visit Sharon Wilson’s website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$29.99
27.44 €
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Sharon Wilson
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Sharon Wilson
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Soprano--C4 to A4
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I'm Gonna Live So God Can Use Me - Congregational Set
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Sharon Wilson
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SheetMusicPlus
Just as I Am, without One Plea (Downloadable)
Soprano descant and SATB choir divisi, with optional keyboard - Medium - Digital Download …
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Soprano descant and SATB choir divisi, with optional keyboard - Medium - Digital Download SKU: MQ.50-6142-E Composed by Matthew Culloton. 7 pages. MorningStar Music Publishers - Digital Sheet Music #50-6142-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6142-E). English.This anthem can be performed with or without keyboard accompaniment. Conceived for a small but capable choir, larger choirs will find it appealing and useful as well. Using the familiar text with a beautiful new melody, the divisi is limited to the sopranos and altos in a few places and the basses on the last note. A sensitive and moving offering for worship and concert settings.
$2.25
2.06 €
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Matthew Culloton
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Just as I Am, without One Plea
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
Crossing the Bar from Love Was My Lord and King! (Downloadable TTBB Choral Score)
TTBB choir, chamber orchestra (strings: 5-5-3-3-3) or piano - Medium - Digital Download
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TTBB choir, chamber orchestra (strings: 5-5-3-3-3) or piano - Medium - Digital Download SKU: MQ.6373-E Composed by Gwyneth W. Walker. 12 pages. E. C. Schirmer Music Company - Digital #6373-E. Published by E. C. Schirmer Music Company - Digital (MQ.6373-E). English.Crossing the Bar creates images of the sea, with the final voyage leading us out across the water, to see our Pilot, face to face. The musical setting endeavors to express the growth from peaceful to ecstatic moods, the tolling of the bell, the meeting of the Pilot. May there be no moaning of the bar, when I put out to see.The poetry of Alfred, Lord Tennyson (1809-1892) is characterized by dark, yet transcendent imagery -- the depths of the ocean, the triumph of the spirit. These poems seem well-suited to musical settings for Men's Chorus. The deep tones. The sonority of male voices (perhaps speaking for the poet) rising in song.Throughout the varied imagery of this poetry -- the depth of the sea, the dark of the night, the tumult of passion and the acceptance of death -- there speaks one, central message. Love was my lord and king..
$2.65
2.42 €
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Gwyneth W
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Crossing the Bar from Love Was My Lord and King!
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
If With All Your Hearts
Choral, Handbell (Choral, Handbells) - Level 3 - Digital Download SKU: H1.C5106DP A…
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Choral, Handbell (Choral, Handbells) - Level 3 - Digital Download SKU: H1.C5106DP Arranged by Arnold B. Sherman. Sing & Ring Series. Ring & Sing, General Worship, Comfort, Confidence, Promise. Octavo. 8 pages. Hope Publishing - Digital #C5106DP. Published by Hope Publishing - Digital (H1.C5106DP). By Felix Mendelssohn.Piece from Elijah by Felix Mendelssohn From Felix Mendelssohn's Elijah, Arnold Sherman has taken the stirring tenor aria, If with All Your Hearts, and arranged it for SATB choir and keyboard with optional 3-5 octave handbell accompaniment. This memorable melody creates a suitable musical offering for worship or concert. The handbell setting may also be performed alone, without voices.
$2.95
2.7 €
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Felix Mendelssohn
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Arnold B
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If With All Your Hearts
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Hope Publishing - Digital
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SheetMusicPlus
Hey! I'm Kenny the Clown from Choir Practice (Downloadable)
Solo voices, piano - Medium - Digital Download SKU: MQ.7.0701-E Composed by Stephen…
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Solo voices, piano - Medium - Digital Download SKU: MQ.7.0701-E Composed by Stephen Chatman. Instrument part. 18 pages. Duration 5 minutes, 20 seconds. Galaxy Music Corporation - Digital #7.0701-E. Published by Galaxy Music Corporation - Digital (MQ.7.0701-E). English.Libretto:Written by Tara Wohlberg. Synopsis:As choir director Willie faces his dilemma of choosing between Heather and Julia for a solo, Kenny the Clown interrupts, and joins the choir practice in progress, prompting various outbursts from the men. As Willie begins to take roll call, the rehearsal quickly digresses into a verbal battle of insults and innuendo between Julia and Heather, each attempting to make the other appear unworthy of the solo. Adonia, the Belly Dancer, enters briefly and exits, followed by Willie, leaving the choir members alone. They proceed to discuss rumors about Willie's manhood and prowess with the ladies.Duration: 5:20The purchase of this scene includes permission to reproduce a maximum number of 13 copies: 1 for each of the vocalists, 1 for the accompanist, and 1 for the conductor. If this will be performed in a concert setting without dramatic elements, it is covered by your organization's ASCAP or BMI license. Please report the concert accordingly. If this will be performed in a staged setting with dramatic elements such as costumes, lighting, etc., please contact the ECS Publishing Copyright Department for a grand rights license. A dramatic production is not covered by ASCAP or BMI.
$50.00
45.75 €
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Stephen Chatman
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Hey! I'm Kenny the Clown from Choir Practice
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Galaxy Music Corporation - Digital
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.
$47.95
43.87 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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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
43.87 €
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Gabrieli
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James M
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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 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
43.87 €
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Brass 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
43.87 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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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
11.88 €
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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 of Mary, Pure and Lowly - Full Score
Level 3 - Digital Download SKU: C7.CGB737 Composed by Carol Lynn Mizell and Skinner…
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Level 3 - Digital Download SKU: C7.CGB737 Composed by Carol Lynn Mizell and Skinner Chávez-Melo. Arranged by Carol Lynn Mizell and Skinner Chávez-Melo. Christmas. Full score. 24 pages. Chorister's Guild - Digital #CGB737. Published by Chorister's Guild - Digital (C7.CGB737). UPC: 749193016350.Level 3 • The strikingly beautiful hymn tune RAQUEL was composed by Skinner Chávez-Melo in 1985. The words are those of Reverend Roland F. Palmer, SSJE. This arrangement incorporates the singing bell technique and is scored for handbells and handchimes with oboe or other solo instrument and optional SATB choir, soprano descant, and congregation. When used as an offertory anthem, the congregation may join in the final stanza: Glory Be to God the Father..
$13.95
12.76 €
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Carol Lynn Mizell and Skinner Chávez-Melo
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Sing of Mary, Pure and Lowly - Full Score
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Chorister's Guild - Digital
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SheetMusicPlus
With Respect in Creation
String Ensemble Choir,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Downloa…
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String Ensemble Choir,Electric Bass Guitar,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105283 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Full Performance. Duration 172. David Kai #708528. Published by David Kai (A0.1105283). A hymn based on the United Church of Canada's A New Creed and Romans 8, calling for the care of creation. WITH RESPECT IN CREATION (All Creation Groans) Words and music by David Kai ©2012 All creation groans as earth, our fragile home turns in paths that lead to devastation, Fish and bird and tree, threatened until we will live with respect in creation. Skies and seas and land, created for God’s plan, not for our own selfish domination, Drought or rising sea threaten until we will live with respect in creation. All creation sighs, we hear the Spirit’s cries, calling for rebirth and restoration, warmth for every heart, healing of each part that lives with respect in creation. All creation sings, let fields and forests ring as we make this holy declaration, Mountains, lakes, rejoice, joining every voice to live with respect in creation, We’ll live with respect in creation.
$1.99
1.82 €
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David Kai
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David Kai
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With Respect in Creation
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David Kai
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SheetMusicPlus
With Respect in Creation (instrumental)
String Ensemble Choir,Electric Bass Guitar,Flute,Piano Accompaniment - Level 3 - Digital D…
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String Ensemble Choir,Electric Bass Guitar,Flute,Piano Accompaniment - Level 3 - Digital Download SKU: A0.1105289 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary. Accompaniment. Duration 164. David Kai #708534. Published by David Kai (A0.1105289). A hymn based on the United Church of Canada's A New Creed and Romans 8, calling for the care of creation. This version is for accompanying a soloist, group or congregation. WITH RESPECT IN CREATION (All Creation Groans) Words and music by David Kai ©2012 All creation groans as earth, our fragile home turns in paths that lead to devastation, Fish and bird and tree, threatened until we will live with respect in creation. Skies and seas and land, created for God’s plan, not for our own selfish domination, Drought or rising sea threaten until we will live with respect in creation. All creation sighs, we hear the Spirit’s cries, calling for rebirth and restoration, warmth for every heart, healing of each part that lives with respect in creation. All creation sings, let fields and forests ring as we make this holy declaration, Mountains, lakes, rejoice, joining every voice to live with respect in creation, We’ll live with respect in creation.
$1.99
1.82 €
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David Kai
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David Kai
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With Respect in Creation
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David Kai
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SheetMusicPlus
Christmas Carols for Brass: Noel Nouvelet (Sing We Now of Christmas)
Large Ensemble Euphonium,Handbell,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download …
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Large Ensemble Euphonium,Handbell,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.934848 Composed by Traditional. Arranged by Ben Mulholland. Christian,Christmas,Praise & Worship,Renaissance,Sacred. Score and parts. 27 pages. Benjamin D Mulholland #6135617. Published by Benjamin D Mulholland (A0.934848). Part of Christmas Carols for Brass: Noël NouveletFor Brass Trio, Quartet, Quintet, or more including Handbell choir parts for Prelude 1select parts depending on instrumentation- For trio: parts 1,2,3; for Quartet: parts 1,2,3,4; for Quintet: parts 1-5Balanced for all combinations and full brass ensemble as well (12+players)for examples: 3 trumpets could play parts 1-3; or 4 horns could play parts 1-4 together; 4 trombones could play parts 1-4 together without additional voices or combined with any other of the instruments. 'Prelude 1 and 2' can be played separately or sequentially, 'Verse and Refrain version 1 and 2' can be used in any order and repeated as needed. Final 'Verse and Refrain - Interlude or Coda' can be omitted or played following any combination of Prelude and/or Verse and Refrain.Euphonium would read Trombone parts, Score and Euphonium parts sold separately.
$7.99
7.31 €
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Traditional
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Ben Mulholland
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for Quartet: parts 1,2,3,4
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Christmas Carols for Brass: Noel Nouvelet
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Benjamin D Mulholland
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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
43.87 €
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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 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
43.87 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Co…
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.87 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
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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 per Sonar à 10 Ch. 177 for Brass Choir
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jmsgu3
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SheetMusicPlus
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