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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
Solo for double bass
Non classifié
1 545
Piano & claviers
Piano seul
45
Piano, Voix
13
Instruments en Do
10
Accompagnement Piano
8
Piano Facile
4
2 Pianos, 4 mains
3
Orgue
2
2 Pianos, 8 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano, Voix et Guitare
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano (partie séparée)
1
+ 7 instrumentations
Retracter
Guitares
Basse electrique
10
Ligne De Mélodie, (Paroles) et Accords
9
4 Guitares (Quatuor)
4
Guitare
3
Guitare (partie séparée)
2
Mandoline
1
Ensemble de guitares
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
26
Chorale Unison
7
Chorale 2 parties
4
Chorale 3 parties
3
Soli, choeur mixte et accompagnement
3
Pack Instrumental pour Chorale
2
Voix basse, Piano
2
Voix haute
2
Chorale TTBB
2
Voix duo
1
Chorale SSAATTBB
1
+ 6 instrumentations
Retracter
Vents
Quatuor de Flûtes : 4 flûtes
28
Flûte traversière et Piano
25
Hautbois, Piano (duo)
22
Saxophone Alto et Piano
22
Saxophone Tenor et Piano
21
Clarinette et Piano
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
13
Clarinette Basse, Piano
13
Saxophone Baryton, Piano
12
Ensemble de Clarinettes
8
Ensemble de Flûtes
7
Flûte, Hautbois, Clarinette, Basson
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone (partie séparée)
5
Flûte traversière
5
Clarinette
5
Trio de Flûtes: 3 flûtes
4
Saxophone Alto
3
Quintette de Flûte : 5 flûtes
3
Quatuor de Saxophones: 4 saxophones
3
Hautbois, Basson (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Hautbois (partie séparée)
2
Flûte, Violon, Piano
2
3 Clarinettes (trio)
1
2 Clarinettes (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte traversière, Orchestre
1
Quintette de Saxophone: 5 saxophones
1
2 Flûtes traversières (duo)
1
Saxophone Soprano et Piano
1
Clarinette, Contrebasse (duo)
1
Flûte, Violoncelle, Piano (trio)
1
Hautbois, Basson et Piano
1
Flûte, Violoncelle, Guitare
1
Piccolo
1
+ 31 instrumentations
Retracter
Cuivres
Bass Clef Instruments
323
Cor et Piano
16
Trombone et Piano
15
Trombone (partie séparée)
14
Tuba et Piano
12
Trompette, Piano
12
Trompette
5
Trompette (partie séparée)
3
Tuba
3
Trombone
2
Quatuor de cuivres: 4 trombones
2
Trompette, Trombone (duo)
1
2 Trombones (duo)
1
Ensemble de Trombones
1
2 Tubas (duo)
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Euphonium, Piano (duo)
1
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Euphonium, Tuba (duo)
1
Cor
1
+ 16 instrumentations
Retracter
Cordes
Contre Basse
1 270
Contrebasse, Piano (duo)
331
Quintette à cordes: 2 violons, alto, violoncelle, basse
174
Quatuor à cordes: 2 violons, alto, violoncelle
129
Violon
47
2 Contrebasses (duo)
45
Violon et Piano
33
Violoncelle, Piano
27
Alto, Piano
26
Violoncelle, Contrebasse (duo)
19
Violoncelle
18
Contrebasse (partie séparée)
18
4 Contrebasses
14
Alto seul
11
Trio à Cordes: 2 violons, violoncelle
4
Alto (partie séparée)
4
Violon (partie séparée)
4
Harpe
4
Trio à Cordes: violon, alto, violoncelle
3
Harpe, Violoncelle (duo)
3
Harpe, Violon (duo)
3
Harpe, Flûte (duo)
3
Alto et Harpe
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
3 Contrebasses
2
Flûte, Contrebasse (duo)
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes
1
Violon, Alto (duo)
1
Violoncelle (partie séparée)
1
2 Violoncelles (duo)
1
Ensemble de Contre basses
1
Violon, Basse continue
1
Violon, Violoncelle (duo)
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
96
Orchestre
74
Orchestre d'harmonie
58
Ensemble Jazz
56
Orchestre de chambre
48
Xylophone, Piano
10
Ensemble de Percussions
9
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
6
Ensemble de cuivres
6
Ensemble d'École
5
Batterie
4
Jazz combo
3
Piano et Orchestre
2
Cloches
2
Orchestre, Violon
2
Batterie (partie séparée)
1
Vibraphone
1
Fanfare
1
+ 13 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
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Vous avez sélectionné:
Solo for double bass
Partitions à imprimer
1 545 partitions trouvées
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1526
Quintet for double basses
#
Contemporain
#
Drake Mabry
#
Quintet for double basses
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Drake Mabry
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SheetMusicPlus
Small Ensemble Double Bass - Level 5 - SKU: A0.799444 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 37 pages. Drake Mabry #519771...
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Small Ensemble Double Bass - Level 5 - SKU: A0.799444 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 37 pages. Drake Mabry #519771. Published by Drake Mabry (A0.799444). The Quintet for double basses was written for the bassist, Paul Ellison and premiered on the Isle of Man, England at the International Double bass festival on August 8, 1978. The players were all principal bassists in five major American orchestras. This explains the equality of the sometime difficult parts. Both traditional and contemporary techniques are used and the score incorporates written and spatial notation. There are moments of solos, duos, trios etc. as well as chorales. The duration is 16 minutes. This is a manuscript score, thus the reduced price.
$9.99
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
#
James M
#
Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
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 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
#
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: Canzon Septimi Toni Ch 172 for Double Brass Choir
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
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
Concerto for Trumpet
Horn|Trumpet Solo|Flute|Clarinet|Double Bass|Bassoon|Oboe|B-Flat Trumpet
#
Franz Joseph Haydn
#
Lewis Buckley
#
Concerto for Trumpet
#
Cimarron Music Press
#
SheetMusicPlus
By Franz Joseph Haydn (1732-1809). Arranged by Lewis Buckley. For Trumpet Solo with Winds (double woodwind quintet and string bass). Solo music. Score and parts...
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By Franz Joseph Haydn (1732-1809). Arranged by Lewis Buckley. For Trumpet Solo with Winds (double woodwind quintet and string bass). Solo music. Score and parts. Published by Cimarron Music Press
$70.00
Celtiberian Fantasy For Harp and Strings
#
Luis Anjos Teixeira
#
Celtiberian Fantasy For Harp a
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Luis Anjos Teixeira
#
SheetMusicPlus
Small Ensemble Cello,Double Bass,Harp,Viola,Violin - Level 3 - SKU: A0.889414 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and...
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Small Ensemble Cello,Double Bass,Harp,Viola,Violin - Level 3 - SKU: A0.889414 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 40 pages. Luis Anjos Teixeira #3478441. Published by Luis Anjos Teixeira (A0.889414). Celtiberian Fantasy For Harp And Strings written for the - 2018 Chamber Music Contest Entry. Dear music Lovers and Friends. Celtiberian Fantasy was designed to be performed by a group of five artists, or even seven, nine, one thousand or more! Any kind of diatonic Harp can be used to perform this piece. The harp part can also be performed as a solo piece. When performing the piece solo and according to the size of the harp or the needs of the artist of course, it is possible to transpose the left hand part an octave lower and to open many of its chords or adding a bass without damaging the caracter of the music. When playing the harp with the rest of the ensemble it might be better to perform it mostly as it is written. The double bass is a soloist but it can be reenforced with a cello. Otherwise the cello joins the ensemble only in the „Tutti. However in the absence of a Double bass, than should the cello take its part. A Cello should always be present in the case that a little stringed orquestra performs the piece. It is a perfect piece for a mixed group of early beginners and „early soloists, it is very easy to perform by experienced artists. It can be played by a group of five artists, as well as a complete string orquestra with harp. Some interpretation symbols where used in the score as a performance suggestion. Most of the score is left virgin to the interpretation of the artists involved, particularly the use of bowing and fingering. It is a very flexible piece that can be used in all kinds of events. The score For the 2018 Chamber Music Contest Entrywas written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was produced with samplers from Garritan, conceived as an audio support for the presentation of the score. It is a Harp Quintet with a Double Bass instead of a Cello. Another audio version with the full orquestra will be found in sound cloud at „Anjos Teixeira Music. Thank you very much for taking your time to read this text and to listen to the file. This is the first time that it has been published in Sheet Music Plus. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Thanks to Stray Queen Mimi for my Family, all the Love and Compassion. Special thanks to my feline Family for all the Patience, Love and Compassion. Luis Anjos Teixeira
$28.99
Nocturne for Double Bass
#
Contemporain
#
Zachary C
#
Nocturne for Double Bass
#
Divisi Labs
#
SheetMusicPlus
Instrumental Duet Double Bass,Instrumental Duet,Piano - Level 4 - SKU: A0.1010672 Composed by Zachary C. Daniels. Contemporary. Score and parts. 10 page...
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Instrumental Duet Double Bass,Instrumental Duet,Piano - Level 4 - SKU: A0.1010672 Composed by Zachary C. Daniels. Contemporary. Score and parts. 10 pages. Divisi Labs #6562763. Published by Divisi Labs (A0.1010672). Nocturne for Double Bass and Piano is a work written to showcase a Bassist's range and versatility. This piece was written to showcase the potential in writing for the instrument. The soloist will demonstrate their ability to both play virtuosic soloist moments, as well as dipping behind the piano for moments where the piano takes the lead. Unlike many solos that include piano as accompaniment, this piece strives to be as close to a duet as possible without the focus shifting away from the Double Bass.
$4.99
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
Unnamed series four short pieces for Orchestral instruments
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Roque Lazarus
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Roque Lazarus
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Unnamed series four short piec
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Roque Lazarus
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.1031516 Composed by Roque Lazarus. Arranged by Roque Lazarus. Contemporary,Holiday,Love,Pop. 4 pages. Roque Lazaru...
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Woodwind Ensemble - Level 3 - SKU: A0.1031516 Composed by Roque Lazarus. Arranged by Roque Lazarus. Contemporary,Holiday,Love,Pop. 4 pages. Roque Lazarus #3434877. Published by Roque Lazarus (A0.1031516). This is a simple set of four hand-written tunes for solo-flute, double-bass duo, oboe duo and violin and double-bass duet but can be performed by other instruments as well , composed for students and hobby musicians...to enjoy playing or sight reading and it is sure to bring a smile on the face of their listener.s This is one of a series of short one page 'unnamed' compositions that I am writing this year 2018, to gather funds to celebrate 30 years program and concert of our music school 'Axl School of music (and technology)' established by me in the summer of 1989 in my ancestral house at Caranzalem Goa India. After tutoring and mentoring music students, audio recording students, bands, choirs, new composers, conductors and forming and training our flagship Orchestra, 'COSMOS EXOTIC ORCHESTRA' over 1000 pupils are all over the world now, some professional teachers, musicians, artists but mostly music lovers and appreciators, some of our students can be seen at www.axlschoolofmusic.blogspot.com and www.youtube.com/axlschoolofmusic We hope you will be kind enough to purchase a copy of my original compositions which will enable me to set up new home-studios and venues to impart music to youngsters, find prodigies and carry the legacy forward into this wide World. Our philosophy is broadcast in our monologues through www.facebook.com/alienbabauniversalmatter and www.writerscafe.org/roquelazarus Our aim is peace and a good life for all. www.reverbnation.com/roquelazarus .
$1.99
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
Alle Jahre wieder (every year again) for family band
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Friedrich Silcher, Wilhelm Hey
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Sophia Transistor
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Alle Jahre wieder
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Sophia Transistor
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SheetMusicPlus
Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussio...
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Large Ensemble Alto Saxophone,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Choir,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Harmonica,Oboe,Piano,Soprano Saxophone,Tenor Saxophone,Trombone,Trumpet,Tuba,Viola,Violin,Voice - Level 1 - SKU: A0.851141 Composed by Friedrich Silcher, Wilhelm Hey. Arranged by Sophia Transistor. Children,Christian,Christmas,World. Score and parts. 14 pages. Sophia Transistor #6624487. Published by Sophia Transistor (A0.851141). Year after year, the whole family comes together and eventually tries to perform Christmas songs on the fly.This arrangement of the german traditional Alle Jahre wieder kommt das Christuskind = Every Year Again, baby Jesus comes back offers several parts for many variable instruments in their specific notation forms. The voices can be combined ad libitum. The score also offers decent vocal scores with the original german lyrics and also english lyrics.The score includes the following parts:- Piano (easy piano, voicings, chord symbols and melody)- vocals (in english and in german); 5 verses for each language- solo instruments in C (violin, flute, etc.); quartet- solo instruments in alto key (viola, alto-trombone, etc.); quartet- solo instruments in Bb (trumpet, clarinet, tenor saxophone, etc.); quartet- solo instruments in bass clef (trombone, cello, bass, etc.); quartet- solo instruments in Eb (alto saxophone, Eb-clarinet, etc.); quartet- solo instruments in F (french horn, F-tuba, etc.); quartet- guitar (notation and TABs)- accordion / harmonica / squeeze box- drums / PercussionType and font sizes have been maximized to support older, elder and farsighted readers in soft candle light situations.So: easy to read even in poor visibility.This arrangement has been optimized for on the fly performances during Christmas time. The constitution of instruments (rhythm and solo instruments (also in transposing scores)) can be put together ad libitum. All parts are matching, can be combined or played alone.YouTube Playalong: https://youtu.be/6evAo392soo German description (Beschreibung auf Deutsch):Alle Jahre wieder wird mit der Familie zusammen Weihnachten gefeiert. Lasst uns doch was zusammen spielen! Na klar, hast du Noten? Ja hier, für Keyboard... hm, für mich passen die nicht...Dieses Arrangement des Weihnachtsklassikers Alle Jahre wieder kommt das CHristuskind beinhaltet Noten für die gängigsten Hausinstrumente. Alle Stimmen können miteinander kombiniert werden. Die Gesangsnoten sind vernünftig notiert und den Liedtext gibt es auf Englisch und auf Deutsch. Folgende Musikinstrumente werden durch diese Noten abgedeckt; die Partitur enthält folgende Auszüge:- Klavier (leichte, mittlere Begleitung, Intonationsvorschläge, Akkordsymbole und Melodie)- Gesang (auf Englisch und auf Deutsch); jeweils 5 Strophen- Soloinstrumente in C (Geige, Flöte, etc.); Quartett- Soloinstrumente in Altschlüssel (Bratsche, Altposaune, etc.); Quartett- Soloinstrumente in Bb (Trompete, Klarinette, Tenorsaxofon, etc.); Quartett- Soloinstrumente mit Bassschlüssel (Posaune, Cello, Bass, etc.); Quartett- Soloinstrumente in Eb (Altsaxofon, Eb-Klarinette, etc.); Quartett- Soloinstrumente in F (Waldhorn, F-Tuba, etc.); Quartett- Gitarre (Noten und TABS)- Akkordeon / Harmonika / Schifferklavier- Schlagzeug / PerkussionSchriftgrößen wurden maximiert, um ältere und weitsichtige Notentextleser in schlecht ausgeleuchteten Situationen mit sanftem Kerzenlicht zu unterstützen.Also: Gut lesbar auch bei schlechten Sichtverhältnissen.Dieses Arrangement wurde für On-the-Fly-Auftritte während der Weihnachtszeit optimiert.Die Besetzung der Instrumente (Rhythmus- und Soloinstrumente (auch in transponierenden Partituren)) kann nach Belieben zusammengestellt werden.Alle Teile sind aufeinander abgestimmt, können kombiniert oder alleine gespielt werden.Viel Spaß beim Ausprobieren!
$4.99
Seattle (Live Recording of Premiere Performance)
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Contemporain
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Seattle Choral Company, Fred C
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Seattle
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William Hawley
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SheetMusicPlus
Level 5 - SKU: A0.1130642 By Seattle Choral Company, Fred Coleman, Director. By William Hawley. Contemporary. Full Performance. Duration 2210. William H...
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Level 5 - SKU: A0.1130642 By Seattle Choral Company, Fred Coleman, Director. By William Hawley. Contemporary. Full Performance. Duration 2210. William Hawley #730894. Published by William Hawley (A0.1130642). This is the Live Recording of the Premiere Performance of William Hawley's oratorio Seattle, for Vocal Soloists, Women's Choir, Chorus, and Orchestra, commissioned by the Seattle Choral Company, Fred Coleman, Director, and premiered by them, with Juliana Rambaldi, Soprano, Carolyn Gronlund, Mezzo-Soprano, Wesley Rogers, Tenor, William Rhodes, Bass, and The Seattle Choral Company Chorus and Orchestra, Fred Coleman, Conductor, in Benaroya Hall, Seattle, Washington, on November 4, 2001. The work is a four-movement setting of Chief Seattle's 1854 Treaty Oration in the English translation of Dr. Henry Smith. Total duration: 40 minutes. Soloists: Soprano Mezzo-Soprano Tenor Bass Women's Choir: SSA Large Chorus: SSAATTBB Orchestra: 3 Flutes (Third doubles Piccolo) 2 Oboes English Horn 3 Clarinets in Bb (Third doubles Bass Clarinet in Bb) 2 Bassoons Contrabassoon 4 Horns in F 2 Trumpets in Bb 2 Trombones Bass Trombone Tuba Timpani 2 Percussion (Bass Drum, Triangle, Large Suspended Cymbal) Harp Strings (Contrabasses with low C required). Movement Timings: 1. Yonder Sky 00:00-7:23 2. There Was a Time 7:28-15:42 3. To Us The Ashes 15:46-20:40 4. Day and Night 20:45-27:32 The audio sample consists of excerpts from the first, third, and final movements of the live recording of the World Premiere Performance in Benaroya Hall, including the opening and closing sections of the work. The Full Score of Seattle is also available for download on this site, ASCAP https://williamhawley.net.
$3.99
Air on the G String, for 4 solo contrabasses
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Classique
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Johann Sebastian Bach
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Air on the G String, for 4 sol
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Distant Engraver Music
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SheetMusicPlus
Small Ensemble Double Bass - Level 5 - SKU: A0.977047 Composed by Johann Sebastian Bach. Arranged by Paul SanGregory ï¼ˆæ¡‘ç£Šæ ¢ï¼‰. B...
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Small Ensemble Double Bass - Level 5 - SKU: A0.977047 Composed by Johann Sebastian Bach. Arranged by Paul SanGregory ï¼ˆæ¡‘ç£Šæ ¢ï¼‰. Baroque. Score and parts. 9 pages. Distant Engraver Music #5723341. Published by Distant Engraver Music (A0.977047). In this arrangement of J. S. Bach’s famous Air, the four parts of the original string orchestra are played by four solo contrabasses. The two upper bass parts take turns playing the soaring primary melody while the two lower parts alternate in playing the famous bass line. With only slight modifications and an occasional omission, all of Bach’s original counterpoint is used in a way that preserves clarity and lightness even though the overall range has been compressed for the basses. Both the 1st and 2nd bass parts require performers to play in the high solo register, playing up to high Eb and D respectively. The original key of D major has been transposed to F major for this arrangement.
$5.00
Gnome`s Dream For Harp And Strings
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Luis Anjos Teixeira
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Gnome`s Dream For Harp And Str
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Luis Anjos Teixeira
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Harp,Viola,Violin - Level 3 - SKU: A0.889415 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and...
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Small Ensemble Cello,Double Bass,Harp,Viola,Violin - Level 3 - SKU: A0.889415 Composed by Luis Anjos Teixeira. Concert,Contemporary,Standards. Score and parts. 18 pages. Luis Anjos Teixeira #3479405. Published by Luis Anjos Teixeira (A0.889415). Dear music Lovers and Friends. Gnome`s Dream revealed in the2018 Chamber Music Contest Entry. Gnome`s Dream was designed to be performed by a group of five artists, or even seven, nine, one thousand or more! Any kind of diatonic Harp can be used to perform this piece. When playing the harp with the rest of the ensemble it might be better to perform it mostly as it was written. In the absence of a Double bass, than should the cello take its part. In the case of an ensemble with more artists where we have already formed a bowed stringed orquestra, The double bass while playing the introduction of the piece remains a soloist and it will than be reenforced with a cello while the other bowed instruments are also playing. It would be good to tune the E string of the double bass down to a D but if this is not possible than simply play the lower „D notes one octave higher. It is a perfect piece for a mixed group of early beginners and „early soloists, it is very easy to perform. It can be played by a group of five artists, as well as a complete string orquestra with harp. Some interpretation symbols where used in the score as a performance suggestion. Most of the score is left virgin to the interpretation of the artists involved, particularly the use of bowing and fingering. It is a very flexible piece that can be used in all kinds of events. The score For the 2018 Chamber Music Contest Entrywas written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was produced with samplers from Garritan, conceived as an audio support for the presentation of the score. It is here presented as a Harp Quintet. Thank you very much for taking your time to read this text and to listen to the file. This is the first time that it has been published in Sheet Music Plus. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Teixeira Thanks to Claudia Eppelt for the cover design, all the Love and inspiration. Thanks to Stray Queen Mimi for my Family, all the Love and Compassion. Special thanks to my feline Family for all the Patience, Love and Compassion. Luis Anjos Teixeira
$16.44
Double English horn Concerto in D Major, Op. 9 No. 12 and String Orchestra
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Classique
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Tomaso Albinoni
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Don Werdick (1946 - )
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Double English horn Concerto i
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
Small Ensemble Cello,Double Bass,English Horn,Viola - Level 4 - SKU: A0.955180 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ...
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Small Ensemble Cello,Double Bass,English Horn,Viola - Level 4 - 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
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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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 Cornet,Horn,Trombone - Level 3 - SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music...
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - 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
Double Oboe Concerto in D Major, Op. 9 No. 12 and String Orchestra
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Classique
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Tomaso Albinoni
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Don Werdick (1946 - )
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II score, Oboe I &
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Double Oboe Concerto in D Majo
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Oboe,Viola - Level 4 - SKU: A0.955178 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroq...
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Small Ensemble Cello,Double Bass,Oboe,Viola - Level 4 - SKU: A0.955178 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 61 pages. Chamber Ensemble of Minnesota, Inc. #6402777. Published by Chamber Ensemble of Minnesota, Inc. (A0.955178). 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 by D Werdick. Includes Oboe I & II score, Oboe I & II separate parts and Double Bass part with figured bass notation. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 9 minutes, 0 seconds Full Score + Parts: Oboe I & II Parts, Oboe Score, Violin I, Violin II, Viola, Cello, Double Bass with figured bass notation. 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
Double Oboe d’amore Concerto in A Major, Op. 9 No. 12 and String Orchestra
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Renaissance
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Tomaso Albinoni
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Don Werdick (1946 - )
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Double Oboe d’amore Conc
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Oboe d'Amore,Viola - Level 4 - SKU: A0.955182 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ...
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Small Ensemble Cello,Double Bass,Oboe d'Amore,Viola - Level 4 - SKU: A0.955182 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Renaissance. Score and parts. 61 pages. Chamber Ensemble of Minnesota, Inc. #6415585. Published by Chamber Ensemble of Minnesota, Inc. (A0.955182). Complete score and parts of T. Albinoni’s Concerto for Two Oboes in D Major, Op. 9, No. 12 and String Orchestra, arranged for Oboe d’amore and String Orchestra in A Major by D Werdick. Includes separate Oboe d’amore I & II score and solo parts. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 9 minutes, 0 seconds Full Score + Parts: Oboe d’amore I & II Parts, Oboe d’amore 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
Concerto for Oboe in Bb Major, Op. 9 No. 11 and String Orchestra
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Classique
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Tomaso Albinoni
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Don Werdick (1946 - )
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Concerto for Oboe in Bb Major,
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Oboe,Viola - Level 4 - SKU: A0.955166 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroq...
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Small Ensemble Cello,Double Bass,Oboe,Viola - Level 4 - SKU: A0.955166 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 83 pages. Chamber Ensemble of Minnesota, Inc. #6026099. Published by Chamber Ensemble of Minnesota, Inc. (A0.955166). Complete score and parts of the Concerto for Oboe in Bb Major, Op. 9, No. 11 and String Orchestra , composed in 1722 by T. Albinoni, arranged by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 50 seconds Full Score + Parts: Oboe Solo, 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. The Oboe solo 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 ... 2020 Chamber Ensemble of Minnesota, Inc. Publishing.
$17.00
Meinau Rag for chamber orchestra
Flute,Oboe,Clarinet,Bassoon,Violin,Viola,Cello,Double Bass,Chamber orchestra:Piccolo,2 Flutes,2 Oboes,Clarinet,Bassoon,2 violins,violas,cellos,double basses.
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Contemporain
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David Warin Solomons
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Colin Bayliss
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Meinau Rag for chamber orchest
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David Warin Solomons
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SheetMusicPlus
Composed by David Warin Solomons (1953-). Arranged by Colin Bayliss. 20th Century, Ragtime. Score, Set of Parts. 24 pages. Published by David Warin Solomons (S0...
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Composed by David Warin Solomons (1953-). Arranged by Colin Bayliss. 20th Century, Ragtime. Score, Set of Parts. 24 pages. Published by David Warin Solomons (S0.21724). - Score,Set of Parts - 20th Century,Ragtime - David Warin Solomons
$16.00
Concerto for Oboe in G Minor, Op. 9 No. 8 and String Orchestra
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Classique
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Tomaso Albinoni
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Don Werdick (1946 - )
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Concerto for Oboe in G Minor,
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Oboe,Viola - Level 4 - SKU: A0.955160 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroq...
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Small Ensemble Cello,Double Bass,Oboe,Viola - Level 4 - SKU: A0.955160 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 70 pages. Chamber Ensemble of Minnesota, Inc. #5869737. Published by Chamber Ensemble of Minnesota, Inc. (A0.955160). Complete score and parts of the Concerto for Oboe in G Minor, Op. 9, No. 8 and String Orchestra , composed in 1722 by T. Albinoni, arranged by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 12 seconds Full Score + Parts: Oboe, 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 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 ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00
L'Éléphant (The Elephant) - for Double Bass solo and orchestra
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Classique
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Camille Saint-Saens
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Patricio Cueto
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L'Éléphant
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Patricio Cueto
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SheetMusicPlus
Large Ensemble,Strings Bassoon,Clarinet,Double Bass,Flute - Level 3 - SKU: A0.820752 Composed by Camille Saint-Saens. Arranged by Patricio Cueto. Romant...
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Large Ensemble,Strings Bassoon,Clarinet,Double Bass,Flute - Level 3 - SKU: A0.820752 Composed by Camille Saint-Saens. Arranged by Patricio Cueto. Romantic Period. Score and parts. 36 pages. Patricio Cueto #4365412. Published by Patricio Cueto (A0.820752). Camille Saint-Saëns L'Éléphant (The Elephant) from Le Carnaval des Animaux (The carnival of the animals) in version for Double Bass solo and orchestra (1 Flute, 2 Clarinets, 2 Bassoons and Strings).
$20.00
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone 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
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - 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
"Green Sleeves" - Beautiful easy version for DOUBLE BASS DUET and PIANO
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English Folk Song
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Iury Cardoso
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"Green Sleeves" - Be
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Iury Cardoso
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SheetMusicPlus
Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 1 - SKU: A0.1398619 Composed by English Folk Song. Arranged by Iury Cardoso. Chamber...
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Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 1 - SKU: A0.1398619 Composed by English Folk Song. Arranged by Iury Cardoso. Chamber,Classical,Medieval,Renaissance,Traditional. 8 pages. Iury Cardoso #981895. Published by Iury Cardoso (A0.1398619). Easy DOUBLE BASS DUET (with PIANO) arrangement of the piece: Green Sleeves (English folk song)(Score and parts: 8 pages)This arrangement of Green Sleeves transforms the traditional English folk song into an easy version for DOUBLE BASS DUET and PIANO, presenting new harmonys, textures and musical colors. This arrangement is ideal for beginner students who want to improve their technique and also for presentations at recitals or gatherings, inspiring the public with the timeless beauty of the Green Sleeves melody.Other features of this sheet music:- Easy arrangement: made for beginner or intermediate level musicians.- Chord symbols not included: but, if you prefer, there is also a version of this same arrangement with the chord symbols on this website.- This arrangement is also a version for teacher/student: the students can be accompanied by their teacher playing the piano (the piano parts can be played on piano or electronic keyboard).- Duet version without the piano accompaniment available: On this site, there is also a version of this same arrangement without the piano accompaniment.- Solo version available: On this site, there is also a version of this arrangement for DOUBLE BASS solo (with or without piano accompaniment).See more arrangements by Iury Cardoso, thank you so much!easy green sleeves for double bass duet and pianoeasy green sleeves sheet musicgreensleeves for double bass duet and pianogreen sleeves double bass duet and piano sheet musicgreen sleeves beautiful double bass duet with pianobeautiful double bass duet and piano green sleevesgreen sleeves beautiful arrangement for double bass duet and pianogreen sleeves easy double bass duet with pianoeasy double bass chamber musiceasy double bass and piano duet for beginnersbeautiful double bass duet with piano sheet musiceasy double basseasy pianoteacher student duetgreen sleeves sheet musicgreensleeves best easy arrangement for double bass duet and pianogreen sleaves arrangement for easy double bass duet and pianoclassic sheet music for double bass duet and pianoMedieval double bass duet and pianoRenaissance double bass duet and pianoeasy chamber music double bass duet and piano.
$5.99
"Green Sleeves" - Beautiful easy version for DOUBLE BASS DUET and PIANO
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English Folk Song
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Iury Cardoso
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"Green Sleeves" - Be
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Iury Cardoso
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SheetMusicPlus
Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 1 - SKU: A0.1398617 Composed by English Folk Song. Arranged by Iury Cardoso. Chamber...
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Instrumental Duet,Piano Double Bass,Instrumental Duet,Piano - Level 1 - SKU: A0.1398617 Composed by English Folk Song. Arranged by Iury Cardoso. Chamber,Classical,Medieval,Renaissance,Traditional. 8 pages. Iury Cardoso #981893. Published by Iury Cardoso (A0.1398617). Easy DOUBLE BASS DUET (with PIANO) arrangement of the piece: Green Sleeves (English folk song)(Score and parts: 8 pages)This arrangement of Green Sleeves transforms the traditional English folk song into an easy version for DOUBLE BASS DUET and PIANO, presenting new harmonys, textures and musical colors. This arrangement is ideal for beginner students who want to improve their technique and also for presentations at recitals or gatherings, inspiring the public with the timeless beauty of the Green Sleeves melody.Other features of this sheet music:- Easy arrangement: made for beginner or intermediate level musicians.- Chord symbols included: but, if you prefer, there is also a version of this same arrangement without the chord symbols on this website.- This arrangement is also a version for teacher/student: the students can be accompanied by their teacher playing the piano (the piano parts can be played on piano or electronic keyboard).- Duet version without the piano accompaniment available: On this site, there is also a version of this same arrangement without the piano accompaniment.- Solo version available: On this site, there is also a version of this arrangement for DOUBLE BASS solo (with or without piano accompaniment).See more arrangements by Iury Cardoso, thank you so much!easy green sleeves for double bass duet and pianoeasy green sleeves sheet musicgreensleeves for double bass duet and pianogreen sleeves double bass duet and piano sheet musicgreen sleeves beautiful double bass duet with pianobeautiful double bass duet and piano green sleevesgreen sleeves beautiful arrangement for double bass duet and pianogreen sleeves easy double bass duet with pianoeasy double bass chamber musiceasy double bass and piano duet for beginnersbeautiful double bass duet with piano sheet musiceasy double basseasy pianoteacher student duetgreen sleeves sheet musicgreensleeves best easy arrangement for double bass duet and pianogreen sleaves arrangement for easy double bass duet and pianoclassic sheet music for double bass duet and pianoMedieval double bass duet and pianoRenaissance double bass duet and pianoeasy chamber music double bass duet and piano.
$5.99
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Solo for double bass
