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2 motets
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
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CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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47 partitions trouvées
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26
2 motets
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Ercole Bernabei
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Lajos Rovatkay
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2 motets
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Möseler Verlag
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SheetMusicPlus
Mixed choir (SATB), 2 violins and basso continuo SKU: M2.MOS-46106 Composed by Ercole Bernabei. Arranged by Lajos Rovatkay. Musica Italiana. Score. Mö...
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Mixed choir (SATB), 2 violins and basso continuo SKU: M2.MOS-46106 Composed by Ercole Bernabei. Arranged by Lajos Rovatkay. Musica Italiana. Score. Möseler Verlag #MOS 46106. Published by Möseler Verlag (M2.MOS-46106). ISBN 9790203772859.
$10.95
2 Motets
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Ercole Bernabei
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Lajos Rovatkay
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2 Motets
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Möseler Verlag
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SheetMusicPlus
Mixed choir (SATB), 2 violins and basso continuo SKU: M2.MOS-46106-70 Composed by Ercole Bernabei. Arranged by Lajos Rovatkay. Musica Italiana. Set of pa...
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Mixed choir (SATB), 2 violins and basso continuo SKU: M2.MOS-46106-70 Composed by Ercole Bernabei. Arranged by Lajos Rovatkay. Musica Italiana. Set of parts. Möseler Verlag #MOS 46106-70. Published by Möseler Verlag (M2.MOS-46106-70). ISBN 9790203772866.
$10.95
Renaissance Motets Arranged for Strings - Palestrina, set 2
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Contemporain
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Giovanni Pierluigi da Palestri
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Curtis Hanson
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Renaissance Motets Arranged fo
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719749 Composed by Giovanni Pierluigi da Palestrina. Arranged by Curtis Hanson. Contemporary. Score and parts. 78 pa...
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String Ensemble - Level 3 - SKU: A0.719749 Composed by Giovanni Pierluigi da Palestrina. Arranged by Curtis Hanson. Contemporary. Score and parts. 78 pages. Curtis Hanson #4839425. Published by Curtis Hanson (A0.719749). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the a capella motets of the late Medieval and Renaissance periods, some well-known and others less so, comprise some of the richest and most beautiful works of choral literature. Unless otherwise indicated, the pieces in this collection are all set for a standard string quartet of 2 violins, viola, and cello, instruments most closely able to mimic the inflections of the human voice. The intent of these arrangements is to enable the string musician to experience a genre perhaps less familiar, from the relatively simple yet sublime homophonic piece, to the varying degrees of rhythmic complexity of polyphonic works and their juxtaposed interplay of duple and triple rhythmic figures. With the purchase of this collection, permission is granted to photocopy parts as needed. Vocal breath marks (‘) above the staff are meant to serve as guides in phrasing. In keeping with the period, no dynamics are indicated, and tempo markings and slurs are only suggestions. The performer is free to interpret as desired. The audio example is of the first several pieces in the collection.
$29.99
Renaissance Motets Arranged for Strings - Byrd, set 2
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Renaissance
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William Byrd
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Curtis Hanson
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Renaissance Motets Arranged fo
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719752 Composed by William Byrd. Arranged by Curtis Hanson. Renaissance. Score and parts. 62 pages. Curtis Hanson #4...
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String Ensemble - Level 3 - SKU: A0.719752 Composed by William Byrd. Arranged by Curtis Hanson. Renaissance. Score and parts. 62 pages. Curtis Hanson #4839435. Published by Curtis Hanson (A0.719752). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the a capella motets of the late Medieval and Renaissance periods, some well-known and others less so, comprise some of the richest and most beautiful works of choral literature. The pieces in this collection are set for a variety of string ensembles, instruments most closely able to mimic the inflections of the human voice. The intent of these arrangements is to enable the string musician to experience a genre perhaps less familiar, from the relatively simple yet sublime homophonic piece, to the varying degrees of rhythmic complexity of polyphonic works and their juxtaposed interplay of duple and triple rhythmic figures. With the purchase of this collection, permission is granted to photocopy parts as needed. Vocal breath marks (‘) above the staff are meant to serve as guides in phrasing. In keeping with the period, no dynamics are indicated, and tempo markings and slurs are only suggestions. The performer is free to interpret as desired. The audio example is of the first several pieces in the collection.
$29.99
Stanford three choral motets, opus 38 No. 2
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Classique
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Sir Charles Villiers Stanford
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Philip Brink
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Stanford three choral motets,
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Philip Brink
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SheetMusicPlus
Brass Ensemble Trombone - SKU: A0.961351 Composed by Sir Charles Villiers Stanford. Arranged by Philip Brink. Romantic Period. Score and parts. 11 pages...
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Brass Ensemble Trombone - SKU: A0.961351 Composed by Sir Charles Villiers Stanford. Arranged by Philip Brink. Romantic Period. Score and parts. 11 pages. Philip Brink #4888369. Published by Philip Brink (A0.961351). The 2nd of the set of three choral motets by Mr. Stanford, a very energetic and exciting piece for 8 trombones in two choirs. There is much call and response playing.
$10.00
Renaissance Motets Arranged for Strings - Palestrina, set 3
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Renaissance
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Giovanni Pierluigi da Palestri
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Curtis Hanson
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Renaissance Motets Arranged fo
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719750 Composed by Giovanni Pierluigi da Palestrina. Arranged by Curtis Hanson. Renaissance. Score and parts. 89 pag...
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String Ensemble - Level 3 - SKU: A0.719750 Composed by Giovanni Pierluigi da Palestrina. Arranged by Curtis Hanson. Renaissance. Score and parts. 89 pages. Curtis Hanson #4839431. Published by Curtis Hanson (A0.719750). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for.For the choral musician, the a capella motets of the late Medieval and Renaissance periods, some well-known and others less so, comprise some of the richest and most beautiful works of choral literature. Unless otherwise indicated, the pieces in this collection are all set for a standard string quartet of 2 violins, viola, and cello, instruments most closely able to mimic the inflections of the human voice. The intent of these arrangements is to enable the string musician to experience a genre perhaps less familiar, from the relatively simple yet sublime homophonic piece, to the varying degrees of rhythmic complexity of polyphonic works and their juxtaposed interplay of duple and triple rhythmic figures. With the purchase of this collection, permission is granted to photocopy parts as needed. Vocal breath marks (‘) above the staff are meant to serve as guides in phrasing. In keeping with the period, no dynamics are indicated, and tempo markings and slurs are only suggestions. The performer is free to interpret as desired. The audio example is of the first several pieces in the collection.
$29.99
Renaissance Motets Arranged for Strings - Palestrina, set 1
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Renaissance
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Giovanni Pierluigi da Palestri
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Curtis Hanson
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Renaissance Motets Arranged fo
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719747 Composed by Giovanni Pierluigi da Palestrina. Arranged by Curtis Hanson. Renaissance. Score and parts. 83 pag...
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String Ensemble - Level 3 - SKU: A0.719747 Composed by Giovanni Pierluigi da Palestrina. Arranged by Curtis Hanson. Renaissance. Score and parts. 83 pages. Curtis Hanson #4839423. Published by Curtis Hanson (A0.719747). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the a capella motets of the late Medieval and Renaissance periods, some well-known and others less so, comprise some of the richest and most beautiful works of choral literature. Unless otherwise indicated, the pieces in this collection are all set for a standard string quartet of 2 violins, viola, and cello, instruments most closely able to mimic the inflections of the human voice. The intent of these arrangements is to enable the string musician to experience a genre perhaps less familiar, from the relatively simple yet sublime homophonic piece, to the varying degrees of rhythmic complexity of polyphonic works and their juxtaposed interplay of duple and triple rhythmic figures. With the purchase of this collection, permission is granted to photocopy parts as needed. Vocal breath marks (‘) above the staff are meant to serve as guides in phrasing. In keeping with the period, no dynamics are indicated, and tempo markings and slurs are only suggestions. The performer is free to interpret as desired. The audio example is of the first several pieces in the collection.
$29.99
Renaissance Motets Arranged for Strings - Victoria, Di Lasso
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Renaissance
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Tomas Luis de Victoria / Orlan
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Curtis Hanson
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Renaissance Motets Arranged fo
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719746 Composed by Tomas Luis de Victoria / Orlando di Lasso. Arranged by Curtis Hanson. Renaissance. Score and part...
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String Ensemble - Level 3 - SKU: A0.719746 Composed by Tomas Luis de Victoria / Orlando di Lasso. Arranged by Curtis Hanson. Renaissance. Score and parts. 67 pages. Curtis Hanson #4839417. Published by Curtis Hanson (A0.719746). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the a capella motets of the late Medieval and Renaissance periods, some well-known and others less so, comprise some of the richest and most beautiful works of choral literature. Unless otherwise indicated, the pieces in this collection are all set for a standard string quartet of 2 violins, viola, and cello, instruments most closely able to mimic the inflections of the human voice. The intent of these arrangements is to enable the string musician to experience a genre perhaps less familiar, from the relatively simple yet sublime homophonic piece, to the varying degrees of rhythmic complexity of polyphonic works and their juxtaposed interplay of duple and triple rhythmic figures. With the purchase of this collection, permission is granted to photocopy parts as needed. Vocal breath marks (‘) above the staff are meant to serve as guides in phrasing. In keeping with the period, no dynamics are indicated, and tempo markings and slurs are only suggestions. The performer is free to interpret as desired. The audio example is of the first several pieces in the collection.
$29.99
16th Century Motets and Anthems Arranged for Strings
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Renaissance
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Many
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Curtis Hanson
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16th Century Motets and Anthem
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719745 Composed by Many. Arranged by Curtis Hanson. Renaissance. Score and parts. 49 pages. Curtis Hanson #4839405. ...
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String Ensemble - Level 3 - SKU: A0.719745 Composed by Many. Arranged by Curtis Hanson. Renaissance. Score and parts. 49 pages. Curtis Hanson #4839405. Published by Curtis Hanson (A0.719745). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the a capella motets of the late Medieval and Renaissance periods, some well-known and others less so, comprise some of the richest and most beautiful works of choral literature. Unless otherwise indicated, the pieces in this collection are arranged for a standard string quartet of 2 violins, viola, and cello, instruments most closely able to mimic the inflections of the human voice. The intent of these arrangements is to enable the string musician to experience a genre perhaps less familiar, from the relatively simple yet sublime homophonic piece, to the varying degrees of rhythmic complexity of polyphonic works and their juxtaposed interplay of duple and triple rhythmic figures. With the purchase of this collection, permission is granted to photocopy parts as needed. Vocal breath marks (‘) above the staff are meant to serve as guides in phrasing. In keeping with the period, no dynamics are indicated, and tempo markings and slurs are only suggestions. The performer is free to interpret as desired. The audio example is of the first piece in the collection.
$24.99
3 Flemish Motets for Trombone or Low Brass Trio
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Renaissance
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Classique
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Eric Burger Music
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3 Flemish Motets for Trombone
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Eric Burger Music
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SheetMusicPlus
Brass Ensemble Bassoon,Euphonium,Trombone - Level 3 - SKU: A0.508412 Arranged by Eric Burger Music. Baroque,Renaissance. Score and parts. 10 pages. Eric...
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Brass Ensemble Bassoon,Euphonium,Trombone - Level 3 - SKU: A0.508412 Arranged by Eric Burger Music. Baroque,Renaissance. Score and parts. 10 pages. Eric Burger Music #3884581. Published by Eric Burger Music (A0.508412). Includes these titles: 1. In pace in idipsum 2. Justus es Domine 3. Verbum caro panem View the score with playback at: https://youtu.be/0LQrPTZMnlA Please review score and playback for additional information. This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trios are arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my work, write me directly for a replacement.
$7.00
Motets
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Alessandro Grandi
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Lajos Rovatkay
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Motets
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Möseler Verlag - Digital
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SheetMusicPlus
High voice, 2 violins and basso continuo - intermediate - SKU: S9.Q49453 No. 1 Salve Regina - Lauda Sion Salvatorem. Composed by Alessandro Grand...
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High voice, 2 violins and basso continuo - intermediate - SKU: S9.Q49453 No. 1 Salve Regina - Lauda Sion Salvatorem. Composed by Alessandro Grandi. Arranged by Lajos Rovatkay. This edition: score. Musica Italiana. Downloadable, Score. Op 104. Möseler Verlag - Digital #Q49453. Published by Möseler Verlag - Digital (S9.Q49453). Latin.
$11.99
Windows of Grace: 2. All Who Are Baptized in Christ (Downloadable)
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Frank Pesci
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Windows of Grace: 2. All Who A
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
2-part choir of mixed or equal voices and organ - Moderately Easy - SKU: MQ.7996-E Composed by Frank Pesci. Baptism of Our Lord, 21st Century. Instrumen...
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2-part choir of mixed or equal voices and organ - Moderately Easy - SKU: MQ.7996-E Composed by Frank Pesci. Baptism of Our Lord, 21st Century. Instrument parts. 8 pages. Duration 2 minutes, 46 seconds. E. C. Schirmer Music Company - Digital #7996-E. Published by E. C. Schirmer Music Company - Digital (MQ.7996-E). English. Galatians 3:27; Pslams 28, 29:3,8.Written between November 2007 and August 2009, this set of four motets was written for and dedicated to the Choir of Grace Episcopal Church in Newton, Massachusetts, and its director, Dr. Linda J. Clark. The choir sits facing four stained glass windows, each depicting a scene from Christ’s life: birth, baptism, death, and resurrection. Each motet is a choral meditation on one of these windows. The set is written for a choir of any size and composition that can be evenly divided into two voice parts.voice parts.All Who Are Baptized in Christ (Omnes in Christo baptizati): A running sixteenth note figure lends an underlying fluidity, which alternates with declarative moments of joy. Duration: 2:46.
$2.25
Renaissance Madrigals Arranged for Strings, set 2
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Renaissance
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Many
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Curtis Hanson
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Renaissance Madrigals Arranged
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Curtis Hanson
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.719774 Composed by Many. Arranged by Curtis Hanson. Renaissance. Score and parts. 46 pages. Curtis Hanson #6258399. ...
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String Ensemble - Level 3 - SKU: A0.719774 Composed by Many. Arranged by Curtis Hanson. Renaissance. Score and parts. 46 pages. Curtis Hanson #6258399. Published by Curtis Hanson (A0.719774). Hey string players and teachers, are you looking for something different to program or teach your students? This collection of pieces, suitable for beginning and experienced ensembles, may be what you’re looking for. For the choral musician, the secular music of the 16th and early 17th centuries comprise some of the most delightful works of early repertoire. The madrigals in this collection are arranged for string trios, quartets, and quintets. The intent of these arrangements is to enable the instrumental musician an opportunity to experience a genre perhaps less familiar, with its varying degrees of rhythmic complexity and the juxtaposed interplay of duple and triple rhythmic figures. In keeping with the period, no dynamics are indicated, and articulations are kept at a minimum. Traditionally, repeated sections are to be played at a softer dynamic, but nothing is written in stone. For the up-tempo piece, as many are, rhythmic cleanliness and clarity are paramount, particularly in the iconic Fa-la-la sections. Accordingly, although they may be warranted, no slurs are given. Occasional staccatos are suggested for crispness. Vocal breath marks (') above the staff are meant to serve as guides in phrasing only, and tempos are only suggestions. As non-sacred works, they are generally not meant as 'serious' music, but rather as the music of the common people. Bottom line, they are meant to be fun, and the performer is free to interpret as desired. This collection is a companion to the arranger’s series of Renaissance Motets Arranged for Strings. With the purchase of this collection, permission is granted to photocopy parts as needed. The audio example is of the first few pieces in the collection.
$29.99
Singet dem Herrn ein neues Lied Motet – Part 2 & Alleluia by J.S. Bach (Double Double-reed Choir)
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Singet dem Herrn ein neues Lie
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - SKU: A0.830767 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 80 pages. Richard B...
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Woodwind Ensemble Bassoon,English Horn,Oboe - SKU: A0.830767 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 80 pages. Richard Byrnes #5313575. Published by Richard Byrnes (A0.830767). Among Bach’s vocal music, none is performed as much as his motets. All are antiphonal. Singet dem Herrn ein neues Lied is the first of these and displays among his most glorious compositions. This is the second part, including the Alleluia.The arrangement is for (2Ob,EH,Bn/2Ob,EH,Bn).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$29.99
Singet dem Herrn ein neues Lied Motet – Part 2 & Alleluia by J.S. Bach (Double Woodwind Choir)
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Singet dem Herrn ein neues Lie
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Bassoon,Clarinet,Flute,Oboe - SKU: A0.830770 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 51 pages. Richard...
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Woodwind Ensemble Bassoon,Clarinet,Flute,Oboe - SKU: A0.830770 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 51 pages. Richard Byrnes #5320769. Published by Richard Byrnes (A0.830770). Among Bach’s vocal music, none is performed as much as his motets. All are antiphonal. Singet dem Herrn ein neues Lied is the first of these and displays among his most glorious compositions. This is the second part, including the Alleluia.The arrangement is for (Fl,Ob,Cl,Bn/Fl,Ob,Cl,Bn).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$29.99
Singet dem Herrn ein neues Lied - Part 2 and Alleluia - Double Brass Choir
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Singet dem Herrn ein neues Lie
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Richard Byrnes
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - SKU: A0.830829 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 51 pages. Rich...
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Brass Ensemble Trombone,Trumpet - SKU: A0.830829 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. Score and parts. 51 pages. Richard Byrnes #6645255. Published by Richard Byrnes (A0.830829). Among Bach’s vocal music, none is performed as much as his motets. All are antiphonal. Singet dem Herrn ein neues Lied is the first of these and displays among his most glorious compositions. This is the second part, including the Alleluia.The arrangement is for (2Trp,2Trom/2Trp,2Trom).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$29.99
Singet dem Herrn ein neues Lied Motet – Part 2 & Alleluia by J.S. Bach (Double Saxophone Choir)
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Classique
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Johann Sebastian Bach
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Richard Byrnes
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Singet dem Herrn ein neues Lie
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Richard Byrnes
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone - SKU: A0.830768 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Ba...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone - SKU: A0.830768 Composed by Johann Sebastian Bach. Arranged by Richard Byrnes. Baroque. 51 pages. Richard Byrnes #5317729. Published by Richard Byrnes (A0.830768). Among Bach’s vocal music, none is performed as much as his motets. All are antiphonal. Singet dem Herrn ein neues Lied is the first of these and displays among his most glorious compositions. This is the second part, including the Alleluia.The arrangement is for (SSx,2ASx,BiSx/SSx,2ASx,BiSx).In addition to many works by J.S. Bach, we offer works by Debussy, Fauré, Glinka, Gottschalk, Granados, Lotti, Mozart, Ravel, Richard Strauss, and Turina.
$29.99
2 Motets
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Edward Pearsal
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2 Motets
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Tuba-Euphonium Press
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SheetMusicPlus
Tuba solo, unaccompanied SKU: TE.TEP10683 Composed by Edward Pearsal. Score. Published by Tuba-Euphonium Press (TE.TEP10683). ...
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Tuba solo, unaccompanied SKU: TE.TEP10683 Composed by Edward Pearsal. Score. Published by Tuba-Euphonium Press (TE.TEP10683).
$15.00
Two Motets for Four Trombones
Trombone,Brass Quartet,Trombone1,Trombone 2,Trombone 3,Trombone 4.
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Contemporain
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Brendan Collins
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Two Motets for Four Trombones
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Brendan Collins
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SheetMusicPlus
Composed by Brendan Collins. 21st Century, 20th Century, Spiritual. 18 pages. Published by Brendan Collins (S0.153903). - - 21st Century,20th Century,Spiritual...
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Composed by Brendan Collins. 21st Century, 20th Century, Spiritual. 18 pages. Published by Brendan Collins (S0.153903). - - 21st Century,20th Century,Spiritual - Brendan Collins
$10.00
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: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
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
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
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Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation 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
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