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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Loca - Harp solo
Non classifié
97
Piano & claviers
Piano seul
272
Orgue
29
Piano, Voix
21
Piano, Voix et Guitare
19
Piano Facile
8
1 Piano, 4 mains
1
+ 1 instrumentations
Retracter
Guitares
Guitare
24
Guitare notes et tablatures
4
2 Guitares (duo)
2
Mandoline
2
Ukulele
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 1 instrumentations
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Voix
Chorale SATB
20
Chorale 2 parties
6
Chorale 3 parties
6
Voix Alto, Piano
4
Voix duo, Piano
3
Voix Soprano, Piano
3
Chorale Unison
3
Voix moyenne, Piano
2
Voix haute
2
Chorale TTBB
1
Voix Tenor
1
Chorale SSAA
1
Voix Tenor, Piano
1
Voix seule
1
Voix Baryton, Piano
1
+ 10 instrumentations
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Vents
Flûte traversière et Piano
18
Clarinette et Piano
16
Flûte traversière
16
Cor anglais, Piano
15
Saxophone Alto et Piano
13
Saxophone Tenor et Piano
12
Saxophone Soprano et Piano
11
Saxophone Baryton, Piano
11
Hautbois, Piano (duo)
10
Saxophone Tenor
10
Clarinette
9
Saxophone Alto
9
Clarinette Basse, Piano
8
Hautbois (partie séparée)
5
Saxophone (partie séparée)
3
Piccolo, Piano
2
2 Flûtes traversières (duo)
2
Ensemble de Clarinettes
2
Flûte traversière, Basse continue
2
Ensemble de Flûtes
2
Quatuor de Clarinettes: 4 clarinettes
2
Quintette de Clarinettes: 5 clarinettes
1
Flûte à bec Alto, Piano
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
Flûte à bec Soprano, Piano
1
Trio de Flûtes: 3 flûtes
1
Saxophone et Guitare
1
Flûte à Bec
1
Flûte et Guitare
1
+ 24 instrumentations
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Cuivres
Cor anglais, Piano
15
Trombone et Piano
12
Euphonium, Piano (duo)
11
Trompette
11
Cor et Piano
8
Trombone
8
Trompette, Piano
7
Cor
3
Trompette, Trombone (duo)
2
2 Trompettes (duo)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Euphonium
1
Ensemble de Trompettes
1
2 Cors (duo)
1
+ 9 instrumentations
Retracter
Cordes
Violon
21
Violon et Piano
20
Alto seul
11
Alto, Piano
10
Violoncelle, Piano
9
Violoncelle
8
Quatuor à cordes: 2 violons, alto, violoncelle
3
Alto (partie séparée)
2
+ 3 instrumentations
Retracter
Orchestre & Percussions
Ensemble Jazz
11
Orchestre à Cordes
10
Orchestre d'harmonie
10
Orchestre
5
Orchestre de chambre
4
Ensemble de cuivres
2
Quintette de Cuivres: autres combinaisons
1
Jazz combo
1
Marimba
1
+ 4 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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COR
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CORNET
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Vous avez sélectionné:
Loca - Harp solo
Partitions à imprimer
97 partitions trouvées
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Out of the Ashes of Holocaust (Full/Choral Score)
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Joshua Fishbein
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Out of the Ashes of Holocaust
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Solo soprano, solo alto, SATB choir, violin, violoncello, and piano - Moderately Difficult - SKU: MQ.9194-E Composed by Joshua Fishbein. 84 pages. E. C....
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Solo soprano, solo alto, SATB choir, violin, violoncello, and piano - Moderately Difficult - SKU: MQ.9194-E Composed by Joshua Fishbein. 84 pages. E. C. Schirmer Music Company - Digital #9194-E. Published by E. C. Schirmer Music Company - Digital (MQ.9194-E). English.This award-winning multi-movement work takes the listener through a journey of reflection and hope. Based on words of Representative Barbara Mikulski to Congress quoting R.F.K. and the Baltimore Sun, this moving work traces the composer's own family's journey in the trials of the Holocaust.
$9.45
Local Hero - Wild Theme
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Film/TV
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
Guitar - Level 3 - SKU: A0.1273819 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 17 pages. Derek Hasted #865947. Published b...
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Guitar - Level 3 - SKU: A0.1273819 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 17 pages. Derek Hasted #865947. Published by Derek Hasted (A0.1273819). LOCAL HERO - WILD THEME - 3 GUITARS or LARGE ENSEMBLE For Classical Guitar primarily - but also suits Acoustic Guitar or Electric GuitarDerek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for classical guitar exploits the soft tones of the nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. Each player in the ensemble takes the lead part in turn, and my arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home... I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
Local Hero - Wild Theme
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Film/TV
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
B-Flat Clarinet,Guitar,Instrumental Duet - Level 3 - SKU: A0.1277944 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 13 pages....
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B-Flat Clarinet,Guitar,Instrumental Duet - Level 3 - SKU: A0.1277944 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 13 pages. Derek Hasted #869648. Published by Derek Hasted (A0.1277944). LOCAL HERO - WILD THEME - Bb CLARINET and GUITAR DUETSuits Classical, Acoustic or Electric Guitar Derek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for Bb clarinet and classical guitar exploits the sustain of the clarinet and the soft tones of nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. My arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune. Note that the guitar part is played with a Capo on the first fret so that both players can enjoy an accessible key signature. The guitar part goes up the neck, and the position numbers are relative to the Capo (ie one fret higher than if there was no Capo fitted).There are no dynamics, but the changing texture of the accompaniment creates the illusion of dynamic changes and you are welcome to add phrasing and dynamics to make the performance “yoursâ€.The guitar part is a little challenging at speed but this will suit confident intermediate players.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
Local Hero - Wild Theme
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Film/TV
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Dire Straits
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Derek Hasted
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Local Hero - Wild Theme
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Derek Hasted
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SheetMusicPlus
Guitar,Instrumental Duet,Tenor Saxophone - Level 3 - SKU: A0.1277982 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 16 pages....
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Guitar,Instrumental Duet,Tenor Saxophone - Level 3 - SKU: A0.1277982 By Dire Straits. By Mark Knopfler. Arranged by Derek Hasted. Film/TV,Pop. 16 pages. Derek Hasted #869685. Published by Derek Hasted (A0.1277982). LOCAL HERO - WILD THEME - TENOR SAX and GUITAR DUETSuits Classical, Acoustic or Electric GuitarDerek Hasted writes Rightly described as an astonishingly beautiful piece, this music from the film Local Hero actually features twice on the soundtrack album, in different keys with different solo instruments.My arrangement for Tenor Sax and Classical Guitar exploits the sustain of the sax and the soft tones of nylon strings and works well at a slightly more modest pace compared to the original. I’ve taken the theme from the closing soundtrack version, where the melody is clear and powerful. My arrangement includes one or two little bits of Mark Knopfler’s quasi-improvised variations on the tune. Note that the guitar part is played with a Capo on the first fret so that both players can enjoy an accessible key signature. The guitar part goes up the neck, and the position numbers are relative to the Capo (ie one fret higher than if there was no Capo fitted).There are two arrangements here - one in the husky low register of the sax, to suit a less experienced player, and one an octave higher that has a few challenging notes at the top, but sings out in a gloriously powerful way. The sound clip on the SheetMusicPlus website has a little of both arrangements.There are no dynamics, but the changing texture of the accompaniment creates the illusion of dynamic changes and you are welcome to add phrasing and dynamics to make the performance “yoursâ€.The guitar part is a little challenging at speed but this will suit confident intermediate players.This enjoyable concert item has a wonderfully captivating melody that the audience will be humming all the way home...I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.
$4.99
The Lord's Prayer (for Soprano or Tenor solo) (Rehearsal Track)
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Musique Sacrée
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Gospel Spirituel
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Stephen DeCesare
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The Lord's Prayer
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Exultet Music
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SheetMusicPlus
Soprano voice,Tenor Voice - SKU: A0.1051632 Composed by Stephen DeCesare. Christian,Gospel,Sacred,Spiritual. Full Performance. Duration 138. Exultet Mus...
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Soprano voice,Tenor Voice - SKU: A0.1051632 Composed by Stephen DeCesare. Christian,Gospel,Sacred,Spiritual. Full Performance. Duration 138. Exultet Music #3205. Published by Exultet Music (A0.1051632). This is the rehearsal track for Lord's Prayer which is available on this site. An accompaniment track is also available. This is featured in the holocaust oratorio: Lest We Forget which is on this site. Video Review: https://www.youtube.com/watch?v=pHEAWlfApYA
$3.99
Gavotte (Solo from the Organ Concerto) - Flexible Mixed Woodwind Trio or Mixed Group Score and Parts
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Classique
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Matthew Camidge
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Brendan Elliget MAGA 537
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Gavotte
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BJE Music
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.750857 Composed by Matthew Camidge (1758-1844). Ar...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - SKU: A0.750857 Composed by Matthew Camidge (1758-1844). Arranged by Brendan Elliget MAGA 537. Classical. Score and parts. 24 pages. BJE Music #4283827. Published by BJE Music (A0.750857). Matthew Camidge (1758-1844) was a well-known local musician of Northern England, famous for his organ compositions, playing and conducting oratorios.This arrangement of one of his compositions, the Gavotte in A minor taken from the solo in his concerto for organ - It is scored as a Mixed Woodwind Trio with an extra added repeated section.It can be played by an expanded Woodwind Group (Flutes, Clarinets, Oboes, Saxes, Horn and a Bassoon) playing the three parts as in the attached recording…or you can use as little 3 parts eg. Clarinet, Horn, and Bassoon.The MP3 was recorded with NotePerformer for an expanded ensemble.Grade = 3 Duration = 2:50 mins
$7.50
Gavotte (Solo from the Organ Concerto) - Brass Trio v2
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Classique
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Matthew Camidge
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Brendan Elliget MAGA 537
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Gavotte
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BJE Music
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SheetMusicPlus
Brass Ensemble Euphonium,Trombone,Trumpet - Level 3 - SKU: A0.750901 Composed by Matthew Camidge (1758-1844). Arranged by Brendan Elliget MAGA 537. Clas...
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Brass Ensemble Euphonium,Trombone,Trumpet - Level 3 - SKU: A0.750901 Composed by Matthew Camidge (1758-1844). Arranged by Brendan Elliget MAGA 537. Classical. Score and parts. 9 pages. BJE Music #4615399. Published by BJE Music (A0.750901). Matthew Camidge (1758-1844) was a well-known local musician of Northern England, famous for his organ compositions, playing and conducting oratorios.This arrangement of one of his compositions, the Gavotte in A minor taken from the solo in his concerto for organ - It is scored as a Brass Trio v2 (2 Trumpets and Trombone/Euphonium BC or TC) with an extra added repeated section. There is also another trio arrangement for Trumpet, Horn, and Trombone at this website…If you would like this arrangement for another Brass combination, please contact me with your request.The MP3 was recorded with NotePerformer.Grade = 4 Duration = 2:50 mins
$6.00
Abundance (flute, clarinet, piano)
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Contemporain
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Jeffrey Hoover
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Abundance
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Musicart Publications
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SheetMusicPlus
Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.971654 Composed by Jeffrey Hoover. 20th Century,Contemporary. Score a...
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Instrumental Duet,Piano Clarinet,Flute,Instrumental Duet,Piano - Level 4 - SKU: A0.971654 Composed by Jeffrey Hoover. 20th Century,Contemporary. Score and parts. 64 pages. Musicart Publications #5370875. Published by Musicart Publications (A0.971654). Abundance is a musical work about quality of life, composed by award-winning American composer Jeffrey Hoover. It is a fantasy in three movements. Sand Dance, Blue Dream of Astor, and North of the Beach all seek to capture the mood of exotic locations, places that are far from the mundane. Sand Dance is a dance of give-and-take, a dance of playfulness and life. Blue Dream of Astor is in reference to Astor Piazzolla, the Argentine classical composer who was inspired by the music of Tango, creating a lifetime of work rooted in Tango's sounds and rhythms. North of the Beach points one to a different location than what may be expected by a tourist. While visiting the beach may be the goal initially, north of the beach may be ultimately more rewarding to explore as part of a personal adventure.The score and parts in this edition are arranged to be printed double-sided, with correct page turns.Jeffrey Hoover's compositions- music ranging from soloist to symphony orchestra -have received recognition through the SMP Press Contemporary Composition Award, the prestigious Trieste prize, the international Luigi Russolo competition, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, grants, publications, fellowships, and more than 25 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer. One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as an M.M. and Bch.Sc. from Ball State University. His career in higher education has included both faculty and arts administration appointments. You can learn more about Jeffrey Hoover's work at his website: https://jeffreyhooverart.wixsite.com/mysiteFor inquiries about his music, guest residencies/festivals, and commissions, please visit his website.
$21.95
Carson Cooman: The Revelations of Divine Love (Metaphors from Sea and Sky) (2009) oratorio for sopra
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: The Revelations
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (4-Part) - Level 5 - SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #30254...
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Choral Choir (4-Part) - Level 5 - SKU: A0.535382 Composed by Carson Cooman. Contemporary,Sacred. Octavo. 187 pages. Musik Fabrik Music Publishing #3025403. Published by Musik Fabrik Music Publishing (A0.535382). The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano,baritone, chorus, and chamber orchestra (0000.1100.1perc.strings), was commissioned for and is dedicated to the choir ofRoyal Holloway, University of London and Rupert Gough, director of choral music.The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416).Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguagebook written by a woman. Considered one of the most significant English mystics of alltime, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (hertrue name is unknown). Regarded even during her lifetime as a spiritual authority, her optimisticvisions have been very influential in the years that have followed.Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe(translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674),and a poem by the American writer Elizabeth Kirschner (b. 1955).The primary concept underlying this oratorio is the presence of two distinct discourses. One is asequence taken from Julian’s religious visions. The other is a sonic geography of Nantucket Island(located 30 miles off the coast of Massachusetts in the United States). This interconnected conceptwas inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Livinghis entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the transpositionof religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery ofdistinctly Orcadian character.)The landscape of Nantucket Island has been the driving force behind a large number of mycompositions for many years. In this oratorio, Julian’s visions are transposed from Norwich andmapped onto the Nantucket landscape. Each movement of the work thus has two parallel purposes:a setting of the visionary words, and a portrayal of a specific place in Nantucket’s geography. Muchof the music was planned in the actual locations. Since the soloists and choir must, by necessity, singthe words, a great deal of the landscape is left to the orchestra. Thus, the orchestra’s role issubstantially greater than simply accompaniment.Because of these two discourses, the oratorio is not intended as comprehensive working out of allaspects of Julian’s visions, nor does it use her own structure and sequence. Rather, it takes herbeautiful words, and the fundamentals of her visions, and attempts to create a new narrative andspiritual experience from them.This is the full score. The vocal score is available for sale. The parts are available on rental from the publisher.
$32.95
Cheer Up, Pull Away: A Duet for Oboe and Bb Clarinet
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Thomas Van Dyke Wiesenthal
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Brittany Sommerville
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Behold you island afar
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Cheer Up, Pull Away: A Duet fo
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Brittany Sommerville
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SheetMusicPlus
Instrumental Duet B-Flat Clarinet,Instrumental Duet,Oboe - Level 2 - SKU: A0.857506 Composed by Thomas Van Dyke Wiesenthal. Arranged by Brittany Sommerv...
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Instrumental Duet B-Flat Clarinet,Instrumental Duet,Oboe - Level 2 - SKU: A0.857506 Composed by Thomas Van Dyke Wiesenthal. Arranged by Brittany Sommerville. Classical,Contest,Festival,Multicultural,Renaissance,Traditional,World. Score and parts. 2 pages. Brittany Sommerville #463969. Published by Brittany Sommerville (A0.857506). Cheer Up, Pull Away: A Duet for Oboe and Bb Clarinet is inspired by the travels of Thomas Forrest (1729-1802). Forrest was a captain in the British Royal Navy and a captain for the British East India Company. During his travels to Indonesia, he recorded his adventures in a journal. The Maluku islands are a province in Indonesia, west of New Guinea. The islands were known for their production of nutmeg and cloves. During Forrest's time in the Maluku islands, he came across a local fishing vessel. There, he noticed that when the sailors on the ship became fatigued, the first-mate would begin a call of motivation to the men at the oars. The men would respond back with a melody, which lighted their drowsy spirits enough to continue rowing for the whole night. Forrest recorded one of these locals songs. Translated into English, the chants contain, What fishes abound in its main; Behold you island afar; Haste, Haste and the fishes obtain. In 1818, Thomas Van Dyke Wiesenthal of the United States Navy composed a chorus and piano arrangement based on Forrest's journals; Cheer up! Pull away! The song featured calls and responses as similar to the sea chanties from the Maluku sailors. The melody in this arrangement of Cheer Up, Pull Away is passed between the oboe and the Bb clarinet; resembling the call and response of the Maluku sea chanties. The dynamically loud and abrupt sixteenth note arpeggios throughout the piece represent abrupt transition from drowsy and fatigued sailors to alert and motivated crew after participating in the chanty. This arrangement is suggested for those in grades 8, 9 and 10. Students will gain experience working with a six-eight time signature and controlling dynamics without being distracted with difficult fingerings and octaves. This piece may be used in solo and ensemble competitions throughout the United States of America, or as a fun piece for students to become comfortable in a six-eight time signature. There are 68 measures in this piece. The tempo is set to be dotted quarter note = 80 BPM; students should perform the piece in any tempo best suited to their needs. This piece will be 104 seconds long at quarter note = 80 BPM. Bb Concert Key.
$4.99
Alto dos Schuenck - Waltz for Piccolo and Piano
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Thiago Osorio
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Alto dos Schuenck - Waltz for
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Thiago Osorio Music
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SheetMusicPlus
Instrumental Solo,Piano,Piccolo - Level 3 - SKU: A0.946705 Composed by Thiago Osorio. Concert,Graduation,Instructional,Standards,World. Score and indivi...
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Instrumental Solo,Piano,Piccolo - Level 3 - SKU: A0.946705 Composed by Thiago Osorio. Concert,Graduation,Instructional,Standards,World. Score and individual part. 17 pages. Thiago Osorio Music #6440759. Published by Thiago Osorio Music (A0.946705). ''Alto dos Schuenck'' (in english: ''Schuenck's Altitude Lands'') is a gracious waltz for Piccolo and Piano in homage to the great flute player from Nova Friburgo, Rubem Schuenck. In the 19th century, Nova Friburgo received German settlers. Among these Germans, the Schuenck family settled in the district of Amparo to grow coffee. As it is a region in the mountains, the place was named Alto dos Schuenck (Alto refers to altitude).A composition that demands dexterity from Piccolo, mentioning the challenges of the road that leads to the location, but which at the same time has the lightness in its themes, piano counterpoints and dialogues between the instruments. A great opportunity to expand your repertoire with Piccolo soloist with piano accompaniment.
$10.00
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - 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
6 Concerti
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Pietro Antonio Locatelli
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6 Concerti
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Strings and basso continuo - SKU: S9.Q24162 Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenb...
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Strings and basso continuo - SKU: S9.Q24162 Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Volume op. 4/7-12, Op Band 2. Ernst Eulenburg & Co. GmbH - Digital #Q24162. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24162). Key: F major.For the six concertos that make up the second part of the Op. 4, Locatelli prescribed eight parts: Violino Primo, Secondo, Alto, è Violoncello, Soli. Violino Primo, Secondo, Alto, è Basso, Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso, to which Locatelli contributed also in his Op. 1, 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled), we here encounter a group of works that are very varied in form, instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify the developments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.
$16.99
In lieblicher Bläue
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Julian Anderson
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In lieblicher Bläue
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Schott Music - Digital
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SheetMusicPlus
Pic.2(2.pic).2.ca.2.bcl(cl).2.cbsn(bsn)-4.3.3.1-4perc(glsp, vib, mar, tub bells, 2 sus cym, 2 tam-t, 3 tri, s.d., b.d., 2 cabasas, lg sandblock, 2 mini wdbl, th...
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Pic.2(2.pic).2.ca.2.bcl(cl).2.cbsn(bsn)-4.3.3.1-4perc(glsp, vib, mar, tub bells, 2 sus cym, 2 tam-t, 3 tri, s.d., b.d., 2 cabasas, lg sandblock, 2 mini wdbl, thundersheet, lg anvil, whip)-hp.pno-str violin and orchestra - SKU: S9.Q32136 Poem for violin and orchestra. Composed by Julian Anderson. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 22 minutes. Schott Music - Digital #Q32136. Published by Schott Music - Digital (S9.Q32136). Julian Anderson’s new Violin Concerto – his first ever concerto – extends the conventional exploration of relationships to the spacial. Beginning off stage, the soloist’s physical location changes throughout the work, altering the dynamic between soloist, orchestra, and conductor. The work was written especially for Carolin Widmann.
$25.99
The Lord Is Risen! (2021)
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Colin Eatock
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The Lord Is Risen!
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Colin Eatock Music
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SheetMusicPlus
Choir,Trumpet - Level 5 - SKU: A0.1207625 Composed by Colin Eatock. Classical,Easter. 9 pages. Colin Eatock Music #805791. Published by Colin Eatock Mus...
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Choir,Trumpet - Level 5 - SKU: A0.1207625 Composed by Colin Eatock. Classical,Easter. 9 pages. Colin Eatock Music #805791. Published by Colin Eatock Music (A0.1207625). Tenor soloist, trumpet in B flat, SATB choir; ca. 2 min.The composer writes: The words for this short anthem are derived from A Hymn for Easter Day, with a text by the eighteenth-century Lancashire poet John Byrom. Byrom’s hymn was evidently popular, and was sung in churches throughout England.According to a book called Memorials of Hindley (a memoir of daily life in the town of Hindley, Lancashire, published in 1873), the hymn was a favourite of an amateur singer named Timothy Eatock, who used to sing the opening verse as a solo in the local church. This Timothy Eatock was, I believe, my great-great-great-great grandfather.
$4.99
Concertos
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Pietro Antonio Locatelli
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Concertos
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 solo parts and orchestra - SKU: S9.Q24159 9-12. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - ...
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4 solo parts and orchestra - SKU: S9.Q24159 9-12. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Op. 1, Op. 3. Ernst Eulenburg & Co. GmbH - Digital #Q24159. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24159). German • English.In his opus 1, the young Locatelli succeeded in preserving the traditional method of composition while nevertheless being open to new influences. This collection follows Corelli's famous Op. 6 and, like that, is divided in eight 'Concerti da chiesa' and four 'Concerti da camera', with the eighth work, like Corelli's, being structured like a Christmas concerto. The study score is based on the Locatelli Complete Edition which makes the works of the Italian master available in accordance with the most recent research and current musicological techniques of editing. With German/English preface and Critical Report!
$15.99
Concertos
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Pietro Antonio Locatelli
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Concertos
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 solo parts and orchestra - SKU: S9.Q24160 5-8. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - P...
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4 solo parts and orchestra - SKU: S9.Q24160 5-8. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Op. 1, Op. 2. Ernst Eulenburg & Co. GmbH - Digital #Q24160. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24160). In his opus 1, the young Locatelli succeeded in preserving the traditional method of composition while nevertheless being open to new influences. This collection follows Corelli's famous Op. 6 and, like that, is divided in eight 'Concerti da chiesa' and four 'Concerti da camera', with the eighth work, like Corelli's, being structured like a Christmas concerto. The study score is based on the Locatelli Complete Edition which makes the works of the Italian master available in accordance with the most recent research and current musicological techniques of editing. With German/English preface and Critical Report!
$15.99
Concertos
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Pietro Antonio Locatelli
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Concertos
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 solo parts and orchestra - SKU: S9.Q24163 1-4. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - S...
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4 solo parts and orchestra - SKU: S9.Q24163 1-4. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 1, Op. 1. Ernst Eulenburg & Co. GmbH - Digital #Q24163. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24163). In his Opus 1, the young Locatelli succeeded in preserving the traditional method of composition while nevertheless being open to new influences. This collection follows Corelli's famous Op. 6 and, like that, is divided into eight 'Concerti da chiesa' and four 'Concerti da camera', with the eighth work, like Corelli's, being structured like a Christmas concerto. The study score is based on the Locatelli Complete Edition which makes the works of the Italian master available in accordance with the most recent research and current musicological editing techniques. With German/English preface and Critical Report!
$15.99
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...
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Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
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
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