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6357
PIANO & CLAVIERS
Piano seul
251
Piano, Voix
67
Piano Facile
56
2 Pianos, 4 mains
34
1 Piano, 4 mains
32
Instruments en Do
27
Piano (partie séparée)
18
Orgue
15
Piano Quatuor: piano, violon, alto, violoncelle
11
Accompagnement Piano
10
Piano Trio: piano, violon, violoncelle
7
Piano Quintette: piano, 2 violons, alto, violoncelle
6
2 Pianos, 8 mains
3
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2
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1
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1
Accordéon
1
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GUITARES
Ligne De Mélodie, (Paroles) et Accords
17
Mandoline
3
Basse electrique
2
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2
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1
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1
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VOIX
Chorale SATB
244
Pack Instrumental pour Chorale
97
Chorale 3 parties
39
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29
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Chorale Unison
20
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3
Soli, choeur mixte et accompagnement
3
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3
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2
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2
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2
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1
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1
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1
Voix Mezzo-Soprano, Piano
1
Chorale SSATTB
1
Voix duo, Piano
1
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VENTS
Saxophone (partie séparée)
98
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
84
Flûte, Hautbois, Clarinette, Basson
62
Quatuor de Flûtes : 4 flûtes
60
Ensemble de Flûtes
55
Flûte traversière et Piano
53
Quatuor de Saxophones: 4 saxophones
49
Hautbois, Piano (duo)
41
Saxophone Alto et Piano
40
Saxophone Tenor et Piano
40
Clarinette et Piano
39
Ensemble de Clarinettes
36
Quatuor de Clarinettes: 4 clarinettes
32
2 Saxophones (duo)
27
Hautbois, Basson (duo)
24
3 Clarinettes (trio)
21
Flûte traversière
19
Clarinette
18
Trio de Flûtes: 3 flûtes
18
Ensemble de saxophones
18
2 Flûtes traversières (duo)
18
Clarinette, Contrebasse (duo)
16
Clarinette Basse, Piano
15
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14
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13
2 Clarinettes (duo)
13
Saxophone, Clarinette (duo)
12
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11
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11
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10
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8
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8
Clarinette, Violon (duo)
8
Clarinette, Trompette (duo)
7
Hautbois (partie séparée)
7
Hautbois, Clarinette (duo)
6
Flûte, Clarinette (duo)
5
Saxophone Tenor
5
Clarinette et Alto
5
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5
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4
2 Hautbois (duo)
4
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4
2 Flûte à bec (duo)
4
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4
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4
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4
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3
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3
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3
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2
Cor anglais, Piano
2
3 Hautbois
2
Flûte, Violon, Piano
2
Flûte, Alto (duo)
2
Cor Anglais
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3 Flûtes à bec (trio)
2
Ensemble à vent
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Quintette de Clarinette: Clarinette, Quatuor à Cordes
2
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1
Cornemuse
1
Flûte traversière, Orgue (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
2 Hautbois, 2 Cors et 2 Bassons
1
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1
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Clarinette, Orchestre
1
Hautbois, Basson et Piano
1
Flûte, Hautbois, Clarinette (trio)
1
Piccolo
1
Flûte, Violoncelle, Piano (trio)
1
Hautbois
1
Clarinette, Harpe (duo)
1
Clarinette, Alto et Piano (trio)
1
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276
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84
Trompette (partie séparée)
68
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62
Quatuor de cuivres: 4 trombones
49
Quatuor de Cuivres : 2 trompettes, trombone, tuba
42
Cor et Piano
27
Trombone et Piano
27
Trompette, Piano
23
Trompette
19
Tuba et Piano
17
Quatuor de Cuivres: 2 trompettes, Cor, trombone
14
Ensemble de Trombones
12
Cor (partie séparée)
8
2 Trompettes (duo)
7
Trompette, Trombone (duo)
7
Tuba
7
Trompette, Saxophone (duo)
6
Trombone
5
2 Cors (duo)
5
Tuba (partie séparée)
5
2 Trombones (duo)
5
2 Tubas (duo)
3
Euphonium, Piano (duo)
3
Quatuor de cuivres: 4 cors
2
Cor anglais, Piano
2
Ensemble de Cors
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Quatuor de Cuivres
2
Cor Anglais
2
Cor
2
Euphonium, Tuba (duo)
1
Trombone, Violon (duo)
1
3 Trombones (trio)
1
2 Trompettes, Clavier (piano ou orgue)
1
Ensemble de Trompettes
1
Trompette, Cor (duo)
1
Trio de Cuivres
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CORDES
Quintette à cordes: 2 violons, alto, violoncelle, basse
1464
Contre Basse
1445
Contrebasse, Piano (duo)
1173
Quatuor à cordes: 2 violons, alto, violoncelle
1064
Harpe
373
Violon
276
2 Contrebasses (duo)
255
Violoncelle, Contrebasse (duo)
230
Violon et Piano
168
Alto, Piano
99
Trio à Cordes: violon, alto, violoncelle
98
Violoncelle
94
Violoncelle, Piano
89
Violon, Violoncelle (duo)
82
2 Violons (duo)
59
Flûte, Contrebasse (duo)
52
4 Contrebasses
52
Alto seul
51
Violon, Alto (duo)
47
2 Violoncelles (duo)
40
Quintette à cordes : 2 violons, alto et 2 violoncelles
34
Violon (partie séparée)
33
Quintette à cordes: 2 violons, 2 altos, violoncelle
31
Trio à cordes
30
2 Altos (duo)
29
Contrebasse (partie séparée)
27
Trio à Cordes: 2 violons, violoncelle
26
Alto (partie séparée)
24
Alto, Violoncelle (duo)
22
3 Contrebasses
18
4 Violoncelles
11
Harpe, Flûte (duo)
9
Trio à Cordes: 3 violoncelles
6
2 Violons, Piano
5
Harpe, Violon (duo)
5
Alto et Harpe
5
Trio à cordes: 3 violins
4
Trio à Cordes: 2 violons, alto
3
Harpe, Violoncelle (duo)
3
Violoncelle (partie séparée)
3
2 Harpes (duo)
3
2 Violoncelles, Piano
2
Quatuor à cordes: 4 violons
2
Violon, Basse continue
1
4 Harpes
1
Trio à cordes: 3 altos
1
Violon, Basson (duo)
1
Piano Trio: Violon, Alto, Piano
1
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
647
Orchestre d'harmonie
461
Orchestre
356
Ensemble Jazz
186
Orchestre de chambre
145
Ensemble de cuivres
94
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
46
Ensemble de Percussions
42
Cloches
30
Jazz combo
23
Fanfare
20
Batterie (partie séparée)
17
Piano et Orchestre
13
Batterie
13
Xylophone, Piano
11
Percussion (partie séparée)
9
2 Xylophones
2
Orchestre, Violon
2
Marimba
1
Vibraphone
1
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AUTRES
Formation musicale - Solfège
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Johann Sebastian Bach: Concerto in D minor BWV 1043 (Double Concerto) for viola, double-bass & piano
This is an exclusive transcription for viola, double-bass & piano of MEDIUM/HIGH skill…
(+)
This is an exclusive transcription for viola, double-bass & piano of MEDIUM/HIGH skill level from the original composition by Johann Sebastian Bach. This title is available as instant sheet music download. Contents: double concerto, bwv1043 / classical,concert
$8.99
8.19 €
#
Johann Sebastian Bach
#
Virtualsheetmusic
Johann Sebastian Bach: Concerto in D minor BWV 1043 (Double Concerto) for two double-basses & piano
This is an exclusive transcription for two double-basses & piano of MEDIUM/HIGH skill …
(+)
This is an exclusive transcription for two double-basses & piano of MEDIUM/HIGH skill level from the original composition by Johann Sebastian Bach. This title is available as instant sheet music download. Contents: double concerto, bwv1043 / classical,concert
$8.99
8.19 €
#
Johann Sebastian Bach
#
Virtualsheetmusic
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
(+)
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
43.66 €
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
#
jmsgu3
#
SheetMusicPlus
Johann Sebastian Bach: Concerto in D minor BWV 1043 (Double Concerto) - original key for viola, cello & piano
This is an exclusive transcription for viola, cello & piano of MEDIUM/HIGH skill level…
(+)
This is an exclusive transcription for viola, cello & piano of MEDIUM/HIGH skill level from the original composition by Johann Sebastian Bach. This title is available as instant sheet music download. Contents: double concerto, bwv1043 / classical,concert
$8.99
8.19 €
#
Johann Sebastian Bach
#
Virtualsheetmusic
Johann Sebastian Bach: Concerto in D minor BWV 1043 (Double Concerto) for viola, cello & piano
This is an exclusive transcription for viola, cello & piano of MEDIUM/HIGH skill level…
(+)
This is an exclusive transcription for viola, cello & piano of MEDIUM/HIGH skill level from the original composition by Johann Sebastian Bach. This title is available as instant sheet music download. Contents: double concerto, bwv1043 / classical,concert
$8.99
8.19 €
#
Johann Sebastian Bach
#
Virtualsheetmusic
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.…
(+)
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download 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
43.66 €
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
#
jmsgu3
#
SheetMusicPlus
Down For Double - C Bass Clef Solo
Level 3 - Digital Download SKU: HX.157745 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157745 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157745).
$6.00
5.46 €
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Freddie Greene
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Rick Stitzel
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Down For Double - C Bass Clef Solo
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Hal Leonard - Digital
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SheetMusicPlus
Down For Double - Eb Solo Sheet
Level 3 - Digital Download SKU: HX.157744 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157744 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157744).
$6.00
5.46 €
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Freddie Greene
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Rick Stitzel
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Down For Double - Eb Solo Sheet
#
Hal Leonard - Digital
#
SheetMusicPlus
Down For Double - Drums
Level 3 - Digital Download SKU: HX.157740 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157740 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157740).
$6.00
5.46 €
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Freddie Greene
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Rick Stitzel
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Down For Double - Drums
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Hal Leonard - Digital
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SheetMusicPlus
Down For Double - Full Score
Level 3 - Digital Download SKU: HX.157834 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157834 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 12 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157834).
$5.00
4.55 €
#
Freddie Greene
#
Rick Stitzel
#
Down For Double - Full Score
#
Hal Leonard - Digital
#
SheetMusicPlus
Down For Double - C Solo Sheet
Level 3 - Digital Download SKU: HX.157742 Composed by Freddie Greene. Arranged by R…
(+)
Level 3 - Digital Download SKU: HX.157742 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157742).
$6.00
5.46 €
#
Freddie Greene
#
Rick Stitzel
#
Down For Double - C Solo Sheet
#
Hal Leonard - Digital
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SheetMusicPlus
Down For Double - Baritone Sax
Level 3 - Digital Download SKU: HX.157839 Composed by Freddie Greene. Arranged by R…
(+)
Level 3 - Digital Download SKU: HX.157839 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157839).
$6.00
5.46 €
#
Freddie Greene
#
Rick Stitzel
#
Down For Double - Baritone Sax
#
Hal Leonard - Digital
#
SheetMusicPlus
Down For Double - Bass
Level 3 - Digital Download SKU: HX.157739 Composed by Freddie Greene. Arranged by R…
(+)
Level 3 - Digital Download SKU: HX.157739 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157739).
$6.00
5.46 €
#
Freddie Greene
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Rick Stitzel
#
Down For Double - Bass
#
Hal Leonard - Digital
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SheetMusicPlus
Down For Double - Piano
Level 3 - Digital Download SKU: HX.157738 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157738 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 4 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157738).
$6.00
5.46 €
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Freddie Greene
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Rick Stitzel
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Down For Double - Piano
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Hal Leonard - Digital
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SheetMusicPlus
Down For Double - Vibes
Level 3 - Digital Download SKU: HX.157741 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157741 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 2 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157741).
$6.00
5.46 €
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Freddie Greene
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Rick Stitzel
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Down For Double - Vibes
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Hal Leonard - Digital
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SheetMusicPlus
Down For Double - Bb Solo Sheet
Level 3 - Digital Download SKU: HX.157743 Composed by Freddie Greene. Arranged by R…
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Level 3 - Digital Download SKU: HX.157743 Composed by Freddie Greene. Arranged by Rick Stitzel. Jazz. 1 pages. Hal Leonard - Digital #0. Published by Hal Leonard - Digital (HX.157743).
$6.00
5.46 €
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Freddie Greene
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Rick Stitzel
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Down For Double - Bb Solo Sheet
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Hal Leonard - Digital
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SheetMusicPlus
Double English horn Concerto in D Major, Op. 9 No. 12 and String Orchestra
Small Ensemble Cello,Double Bass,English Horn,Viola - Level 4 - Digital Download SKU: A…
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Small Ensemble Cello,Double Bass,English Horn,Viola - Level 4 - Digital Download SKU: A0.955180 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 61 pages. Chamber Ensemble of Minnesota, Inc. #6410719. Published by Chamber Ensemble of Minnesota, Inc. (A0.955180). Complete score and parts of the Concerto for Two Oboes in D Major, Op. 9, No. 12 and String Orchestra, composed/first edition in 1722 by T. Albinoni, arranged for English horn by D Werdick. Includes separate English horn I & II score and figured bass notation for Double Bass part. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 9 minutes, 0 seconds Full Score + Parts: English horn I & II Parts, English horn Score, Violin I, Violin II, Viola, Cello, Double Bass. During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement part offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music. 2021 Chamber Ensemble of Minnesota, Inc. Publishing.
$17.75
16.16 €
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Tomaso Albinoni
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Don Werdick (1946 - )
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Double English horn Concerto in D Major, Op. 9 No. 12 and String Orchestra
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Chamber Ensemble of Minnesota, Inc.
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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
43.66 €
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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: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Do…
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental parts: 2 pg. ea. Duration: ca. 3:00 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
43.66 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
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jmsgu3
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SheetMusicPlus
Auld Lang Syne - Double Reed Quartet Score and Parts PDF
Woodwind Ensemble,Woodwind Quartet Bassoon,Oboe - Level 2 - Digital Download SKU: A0.75…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Oboe - Level 2 - Digital Download SKU: A0.750940 Composed by Traditional. Arranged by Brendan Elliget MAGA 537. Holiday. 10 pages. BJE Music #5019199. Published by BJE Music (A0.750940). Should auld acquaintance be forgot, and never brought to mind? Should auld acquaintance be forgot, and auld lang syne ? (Robert Burns) A traditional tune probably originating in Scotland: Auld Lang Syne is usually sung each New Year at midnight or as a song of farewell. It is common practice that everyone joins hands with the person next to him or her to form a great circle around the dancefloor, theatre, arena, etc.This is a straight-forward arrangement for Double Reed Quartet: 2 Oboes and 2 Bassoons.If you use this arrangement let me know how it goes!Grade = 3, Duration = 2:10 minsThe MP3 was recorded with NotePerformer 3.
$7.50
6.83 €
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Traditional
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Brendan Elliget MAGA 537
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Auld Lang Syne - Double Reed Quartet Score and Parts PDF
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BJE Music
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SheetMusicPlus
16 Favourite Easter Hymns for Double Reed Quartet, two Oboes, Cor Anglais and Bassoon
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - Digital Download …
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.587861 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031037. Published by David McKeown (A0.587861). 16 Favourite Easter Hymns for Double Reed Quartet is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for two Oboes, one Cor Anglais/English Horn and one Bassoon. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns (the Saxophone Quartet version), via the youtube link above. 16 Favourite Easter Hymns for Double Reed Quartet are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Double Reed Quartet useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…· All Creatures of Our God and King, (Lasst Uns Erfreuen)· All Hail the Power of Jesus Name, (Coronation)· Before the Throne of God Above, (Before the Throne)· Blessed Assurance, (Blessed Assurance)· Christ the Lord is Risen Today, (Easter Hymn)· Crown Him with Many Crowns, (Diademata)· The Day of Resurrection, (Ellacombe)· Just as I Am, (Woodworth)· I Know that My Redeemer Lives, (Bradford)· It is Well with My Soul, (Ville du Havre)· A Mighty Fortress is Our God, (Ein Feste Burg)· Nothing But the Blood of Jesus, (What Can Wash Away My Sin)· There is a Green Hill Far Away, (The Green Hill)· Thine Be the Glory, (Judas Maccabeus)· Were You There? (Were You There?)· When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
9.1 €
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Various
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David McKeown
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16 Favourite Easter Hymns for Double Reed Quartet, two Oboes, Cor Anglais and Bassoon
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David McKeown
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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
43.66 €
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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 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
43.66 €
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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 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
43.66 €
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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
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged …
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Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. 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. www.jamesguthrie.com.
$47.95
43.66 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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jmsgu3
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SheetMusicPlus
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