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Vous avez sélectionné:
The Altar
Partitions à imprimer
65 partitions trouvées
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Is Your All on the Altar - for Beginner Orchestra. (with chords)
Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tu…
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Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - Digital Download SKU: A0.1478338 Composed by Elisha Albright Hoffman. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 40 pages. Müller Publishing company #1055719. Published by Müller Publishing company (A0.1478338). Arrangement of the Traditional Hymn Is Your All on the Altar by Elisha Albright Hoffman - Adapted by L. Müller for Beginner Orchestra.Celebrate the inspiring message of the traditional hymn, Is Your All on the Altar, composed by Elisha Albright Hoffman. This arrangement, meticulously adapted by L. Müller, is crafted for beginner orchestras, making it accessible to a wide range of performers.The arrangement includes comprehensive parts for various instruments, ensuring that orchestras of all sizes can participate. The classic harmony is preserved, allowing both small and large groups to perform with depth and richness. The digital PDF format ensures easy access and distribution, with versions available both with and without chords to suit different performance needs.Perfect for church services, spiritual gatherings, and musical events, this rendition of Is Your All on the Altar will quickly become a cherished addition to any repertoire. The thoughtful adaptation ensures that even those new to music can join in creating a worshipful and inspiring atmosphere.Instruments Included:- Flute- Clarinet in Bb I & II- Soprano Saxophone- Alto Saxophone I & II- Horn in F- Trumpet in Bb I, II & III- Trombone I & II- Tuba- Violin I, II & III- Viola- Cello I & II- Contrabass- PianoAvailable Versions: With and Without ChordsKey Features:- Suitable for beginner musicians- Comprehensive instrumentation- Digital PDF format for easy access and distribution- Classic harmony preservedEnrich your worship services and musical gatherings with this specially adapted arrangement of Is Your All on the Altar. Acquire it now and inspire your audience with the beauty, joy, and depth of this iconic hymn.
$1.99
1.81 €
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Elisha Albright Hoffman
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L
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Is Your All on the Altar - for Beginner Orchestra.
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Müller Publishing company
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SheetMusicPlus
Is Your All on the Altar - for Beginner Orchestra.
Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tu…
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Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - Digital Download SKU: A0.1478339 Composed by Elisha Albright Hoffman. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 40 pages. Müller Publishing company #1055720. Published by Müller Publishing company (A0.1478339). Arrangement of the Traditional Hymn Is Your All on the Altar by Elisha Albright Hoffman - Adapted by L. Müller for Beginner Orchestra.Celebrate the inspiring message of the traditional hymn, Is Your All on the Altar, composed by Elisha Albright Hoffman. This arrangement, meticulously adapted by L. Müller, is crafted for beginner orchestras, making it accessible to a wide range of performers.The arrangement includes comprehensive parts for various instruments, ensuring that orchestras of all sizes can participate. The classic harmony is preserved, allowing both small and large groups to perform with depth and richness. The digital PDF format ensures easy access and distribution, with versions available both with and without chords to suit different performance needs.Perfect for church services, spiritual gatherings, and musical events, this rendition of Is Your All on the Altar will quickly become a cherished addition to any repertoire. The thoughtful adaptation ensures that even those new to music can join in creating a worshipful and inspiring atmosphere.Instruments Included:- Flute- Clarinet in Bb I & II- Soprano Saxophone- Alto Saxophone I & II- Horn in F- Trumpet in Bb I, II & III- Trombone I & II- Tuba- Violin I, II & III- Viola- Cello I & II- Contrabass- PianoAvailable Versions: With and Without ChordsKey Features:- Suitable for beginner musicians- Comprehensive instrumentation- Digital PDF format for easy access and distribution- Classic harmony preservedEnrich your worship services and musical gatherings with this specially adapted arrangement of Is Your All on the Altar. Acquire it now and inspire your audience with the beauty, joy, and depth of this iconic hymn.
$1.99
1.81 €
#
Elisha Albright Hoffman
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L
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Is Your All on the Altar - for Beginner Orchestra.
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Müller Publishing company
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SheetMusicPlus
We'll Get The Bells To Ring (Rehearsal Track)
Choir,Piano - Digital Download SKU: A0.1052239 Composed by Stephen DeCesare. Broadw…
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Choir,Piano - Digital Download SKU: A0.1052239 Composed by Stephen DeCesare. Broadway,Christmas,Film/TV,Musical/Show. Full Performance. Duration 106. Exultet Music #3121715. Published by Exultet Music (A0.1052239). Comedic musical-theatre song which is featured in the Christmas musical, Why The Chimes Rang which sings about the townspeople trying to outdo one another in bringing a special gift to the altar to make the steeple bells ring which have not rung out in many years. Scored for Ensemble and Piano.
$3.99
3.63 €
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Stephen DeCesare
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We'll Get The Bells To Ring
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Exultet Music
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SheetMusicPlus
It Came Upon the Midnight Clear
Cello,Harpsichord Accompaniment - Level 3 - Digital Download SKU: A0.1500764 Compos…
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Cello,Harpsichord Accompaniment - Level 3 - Digital Download SKU: A0.1500764 Composed by NOEL CMD Trad. English Melody. Arranged by Ken Litton. Historic,Religious,Sacred,Standards. Accompaniment. Duration 188. Artist of Note, Inc. #1076843. Published by Artist of Note, Inc. (A0.1500764). It Came Upon the Midnight ClearNOEL CMD Trad. English Melodyarranged by Ken Litton (ASCAP)Audio Demo/Accompaniment trackAlso available: Sheet Music Plushttps://www.sheetmusicplus.com/en/product/it-came-upon-a-midnight-clear-22842289.htmlSheet Music Directhttps://www.sheetmusicdirect.com/en-US/se/ID_No/1606059/Product.aspxThe text is the familiar hymn of Edmund Hamilton Sears (1810-1876), an American clergyman ministering for many years in Massachusetts. After a retirement due to health concerns, his second Christmas hymn dating from about 1849 was published in The Christian Register. Of it a fellow minister by the name of Morrison wrote, I always feel that, however poor my Christmas sermon may be, the reading and singing of It Came Upon the Midnight Clear are enough to make up for all deficiencies.”Here the tune is NOEL (CMD). The arrangement begins in Eb moving up to F, followed by an expressive (optionally a cappella) section in Dm. After a brief return to F for the final stanza (with a descant limited to top space F) there is a subtle surprise by joy to Em and on to a singable ending in G, with options for second soprano. The voicing range from unison to 2-part and on to 3 and 4 parts, but in a singable, approachable range for choirs of medium ability and only a hint of easily sung divisi.The accompaniment is active but playable and the score suggests a harpsichord voice as the keyboard option. The style of the piece——as well as the mp3 instrumentation—allude to abasso continuo optional part for cello, bassoon, or other C bass instrument, a separate medium difficulty part included.And mp3 demo/slass accompaniment track is available separately.All this from the places you go for the best in downloadable resources as well as via Hal Leonard InStore™ retailers.Be sure to check out other titles from East of the Altar/Artist of Note, Inc.Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard.
$4.99
4.54 €
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NOEL CMD Trad
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Ken Litton
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It Came Upon the Midnight Clear
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Artist of Note, Inc.
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SheetMusicPlus
Is Your All On The Altar?
Horn,Trombone - Level 3 - Digital Download SKU: A0.1283369 Composed by Elisha Albri…
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Horn,Trombone - Level 3 - Digital Download SKU: A0.1283369 Composed by Elisha Albright Hoffman. Arranged by Fabio Britto. Christian,Praise & Worship,Religious,Spiritual,Traditional. 6 pages. Fabio Britto #874553. Published by Fabio Britto (A0.1283369). Arrangement of the song Is Your All On The Altar? (Traditional Christian Song) for Woodwind Trio.
$12.99
11.83 €
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Elisha Albright Hoffman
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Fabio Britto
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Is Your All On The Altar?
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Fabio Britto
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SheetMusicPlus
Is Your All On The Altar?
Bass Flute,Flute Solo - Level 4 - Digital Download SKU: A0.1285153 Composed by Elis…
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Bass Flute,Flute Solo - Level 4 - Digital Download SKU: A0.1285153 Composed by Elisha Albright Hoffman. Arranged by Fabio Britto. Christian,Praise & Worship,Religious,Spiritual,Traditional. Individual part. 1 pages. Fabio Britto #876271. Published by Fabio Britto (A0.1285153). Arrangement of the song Is Your All On The Altar?(Traditional Christian Song) for Flute Solo With Chords.
$4.99
4.54 €
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Elisha Albright Hoffman
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Fabio Britto
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Is Your All On The Altar?
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Fabio Britto
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SheetMusicPlus
Is Your All On The Altar?
Horn,Trumpet - Level 3 - Digital Download SKU: A0.1283407 Composed by Elisha Albrig…
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Horn,Trumpet - Level 3 - Digital Download SKU: A0.1283407 Composed by Elisha Albright Hoffman. Arranged by Fabio Britto. Christian,Praise & Worship,Religious,Spiritual,Traditional. 6 pages. Fabio Britto #874592. Published by Fabio Britto (A0.1283407). Arrangement of the song Is Your All On The Altar? (Traditional Christian Song) for Brass Trio.
$12.99
11.83 €
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Elisha Albright Hoffman
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Fabio Britto
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Is Your All On The Altar?
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Fabio Britto
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SheetMusicPlus
Is Your All On The Altar?
Woodwind Ensemble,Woodwind Trio English Horn - Level 3 - Digital Download SKU: A0.12833…
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Woodwind Ensemble,Woodwind Trio English Horn - Level 3 - Digital Download SKU: A0.1283367 Composed by Elisha Albright Hoffman. Arranged by Fabio Britto. Christian,Praise & Worship,Religious,Spiritual,Traditional. 6 pages. Fabio Britto #874550. Published by Fabio Britto (A0.1283367). Arrangement of the song Is Your All On The Altar? (Traditional Christian Song) for Woodwind Trio.
$12.99
11.83 €
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Elisha Albright Hoffman
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Fabio Britto
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Is Your All On The Altar?
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Fabio Britto
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SheetMusicPlus
Is Your All On The Altar?
English Horn,Instrumental Duet,Oboe - Level 3 - Digital Download SKU: A0.1285092 Co…
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English Horn,Instrumental Duet,Oboe - Level 3 - Digital Download SKU: A0.1285092 Composed by Elisha Albright Hoffman. Arranged by Fabio Britto. Christian,Praise & Worship,Religious,Spiritual,Traditional. 4 pages. Fabio Britto #876210. Published by Fabio Britto (A0.1285092). Arrangement of the song Is Your All On The Altar? (Traditional Christian Song) for Oboe & English Horn Duo.
$7.99
7.28 €
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Elisha Albright Hoffman
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Fabio Britto
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English Horn Duo.
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Is Your All On The Altar?
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Fabio Britto
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SheetMusicPlus
Ronde & Saltarello - Tielman Susato - Dansereye 1551
Level 2 - Digital Download SKU: A0.1456367 Composed by Tielman Susato. Arranged by …
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Level 2 - Digital Download SKU: A0.1456367 Composed by Tielman Susato. Arranged by Alastair Lodge. Chamber,Early Music,Renaissance. 10 pages. Wold Meridian #1035447. Published by Wold Meridian (A0.1456367). Renaissance Dance music provides some of the most simple yet satisfying pieces to play in ensemble on a wide range of instruments. They are suitable for recorders, modern strings, woodwinds or brass, or where available, reproductions of 16th century instruments, such as crumhorns, viols or shawms to name but a few.Also appearing in the publication Chording to the Consort, this individual piece is presented in full score and with separate parts for each of the lines. Wold Meridian editions of these pieces have been created to make performing them as accessible as possible. Chords have been provided so that the piece can be performed with just the melody line and a simple accompaniment. Each piece can be heard in a video on YouTube with illustrations and historical background information. Even more helpful for players who are less experienced in reading harmony lines, there is a YouTube video link featuring each part, where it is heard initially on its own with the chords, on repeats with the melody line added and finally together with all the parts in the whole ensemble. If you have not had the pleasure of playing in consort with other people, you could not do better than start with these Wold Meridian editions.You can hear the piece in a linked YouTube video at https://www.youtube.com/watch?v=e3Dc6BnAVYgAs a help for players who are not so familiar with playing harmony and inner linesLine 2 is featured at https://www.youtube.com/watch?v=8PUVYKxBRDgLine 3 is featured at https://www.youtube.com/watch?v=tA2u4gWHUaELine 4 is featured at https://www.youtube.com/watch?v=atsEGxlk7rI
$2.50
2.28 €
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Tielman Susato
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Alastair Lodge
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Ronde & Saltarello - Tielman Susato - Dansereye 1551
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Wold Meridian
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SheetMusicPlus
A Mission for Every One
Keyboard - Digital Download SKU: A0.1503432 Composed by Ken Litton. Arranged by Ken…
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Keyboard - Digital Download SKU: A0.1503432 Composed by Ken Litton. Arranged by Ken Litton. 20th Century,Christian,Contemporary,Religious,Sacred. Accompaniment. Duration 140. Artist of Note, Inc. #1078881. Published by Artist of Note, Inc. (A0.1503432). A Mission for Every OneAudio accompaniment/demo MP3A song I wrote at the request of the South Brazil Mission of the International Mission Board SBC, for their Annual South Brazil Mission Meeting in 1997 while we were serving the churches of the Federal District Baptist Convention in the capital city of Brasília (1000 miles into the interior of the country).The key reference here is Matthew 24:4-14...And Jesus answered and said unto them, Take heed that no man deceive you. For many shall come in my name, saying, I am Christ; and shall deceive many. And ye shall hear of wars and rumours of wars: see that ye be not troubled: for all these things must come to pass, but the end is not yet. For nation shall rise against nation, and kingdom against kingdom: and there shall be famines, and pestilences, and earthquakes, in divers places. All these are the beginning of sorrows. Then shall they deliver you up to be afflicted, and shall kill you: and ye shall be hated of all nations for my name's sake. And then shall many be offended, and shall betray one another, and shall hate one another. And many false prophets shall rise, and shall deceive many. And because iniquity shall abound, the love of many shall wax cold. But he that shall endure unto the end, the same shall be saved. And this gospel of the kingdom shall be preached in all the world for a witness unto all nations; and then shall the end come.—KJV#evangelism #outreach #witness #testifyAvailable where you go for the best in downloadable resources, including:Sheet Music PlusSheet Music DirectAnd via your local Hal Leonard InStore music dealerAlso…check out other titles from East of the Altar/Artist of Note, Inc.!Thanks, as always to the good folks at ArrangeMe.com, a division of Hal Leonard!
$2.99
2.72 €
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Ken Litton
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Ken Litton
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and shall deceive many
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A Mission for Every One
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Artist of Note, Inc.
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SheetMusicPlus
Altar Medley--Solo Vocal.pdf
Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.809582 Composed by Norris/Doa…
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Vocal Solo,Voice - Level 4 - Digital Download SKU: A0.809582 Composed by Norris/Doane/Fischer. Arranged by Marilyn Thompson. Christian,Gospel,Sacred. 7 pages. Marilyn Thompson #6292479. Published by Marilyn Thompson (A0.809582). An expressive, creative medley of invitational hymns calling for dedication and Christian discipleship. The original baritone solo was sung by international operatic baritone, Robert McFarland, in his album entitled Nothing Between. Orchestral Score, Parts and Octavo are available on separate posts. (Please contact marilyn@mtmusicministries.com for further information.) ASCAP
$3.99
3.63 €
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Norris/Doane/Fischer
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Marilyn Thompson
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Altar Medley--Solo Vocal.pdf
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Marilyn Thompson
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.66 €
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
43.66 €
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
50 Hymns for Beginner Orchestra: Complete Collection of Traditional Arrangements
Large Ensemble Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trom…
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Large Ensemble Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - Digital Download SKU: A0.1499956 Composed by Various. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 1122 pages. Müller Publishing company #1076027. Published by Müller Publishing company (A0.1499956). 50 Hymns for Beginner Orchestra: Complete Collection of Traditional ArrangementsExplore the beauty of timeless hymns with this comprehensive collection of 50 arrangements specially crafted for beginner orchestras. Arranged by L. Müller, this book includes a wide range of beloved hymns, allowing orchestras of all levels to experience the joy of playing these sacred songs together. Each arrangement is thoughtfully designed to be accessible for young musicians while preserving the integrity and spirit of the original melodies. Whether for worship, performances, or educational purposes, this collection will serve as a valuable resource for any orchestra.Included Hymns:1. A Mighty Fortress2. Abide With Me3. All Hail The Power of Jesus' Name4. All Hail to the Power5. Belmont Hymn6. Christ Arose7. Count Your Blessings8. Fairest Lord Jesus9. Glorious Things of Thee Are Spoken10. God Be With You11. God of Our Fathers12. God Reveals His Presence13. Great Is Thy Faithfulness14. Holy, Holy, Holy15. How Great Thou Art16. I Surrender All17. Is Your All on the Altar18. It Is Well with My Soul19. Jesus Christ is Risen Today20. Jesus is Passing This Way21. Joyful, Joyful, We Adore Thee22. Lead me, Lord23. Let us praise God24. Majesty25. Master, the Tempest is Raging26. Mine Eyes Have Seen the Glory27. Moment by Moment28. Nearer my God to Thee29. Nearer, still nearer30. Now the Day Is Over31. O Love That Will Not Let Me Go32. O the Deep, Deep Love of Jesus33. Onward, Christian Soldiers34. Praise Ye the Father35. Showers of Blessing36. Standing on the Promises37. Tell Me the Old, Old Story38. The Banner of the Cross39. The Fight Is On40. The Gospel Bells41. The King's Business42. The Lord Bless You and Keep You43. The Old Rugged Cross44. To God Be The Glory45. Tollite Hostias46. True-hearted, Whole-hearted47. Trust and Obey48. We Plow the Fields49. When I Survey The Wondrous Cross50. Wonderful Grace of JesusInstrumentation:* Flute* Clarinet in Bb I & II* Soprano Saxophone* Alto Saxophone I & II* Horn in F* Trumpet in Bb I, II & III* Trombone I & II* Tuba* Violin I, II & III* Viola* Cello I & II* Contrabass* PianoThis collection provides flexibility for various ensemble sizes and skill levels, making it perfect for churches, schools, and community groups. Each hymn comes with a beginner-friendly arrangement that will inspire both musicians and audiences alike. Dive into this rich repertoire and bring these classic hymns to life in your next performance.Don't miss out on this invaluable collection that will enrich your orchestra's music library and uplift hearts through the power of hymnody.
$50.00
45.53 €
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Various
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L
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50 Hymns for Beginner Orchestra: Complete Collection of Traditional Arrangements
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Müller Publishing company
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SheetMusicPlus
50 Hymns for Beginner Orchestra with Chord Symbols: Complete Collection of Traditional Arrangements
Large Ensemble Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trom…
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Large Ensemble Alto Saxophone,Cello,Clarinet,Double Bass,Flute,Horn,Soprano Saxophone,Trombone,Trumpet,Tuba,Viola,Violin - Level 1 - Digital Download SKU: A0.1499958 Composed by Various. Arranged by L. Müller. Chamber,Christian,Religious,Sacred,Spiritual. 1122 pages. Müller Publishing company #1076029. Published by Müller Publishing company (A0.1499958). 50 Hymns for Beginner Orchestra with Chord Symbols: Complete Collection of Traditional ArrangementsUnlock the full potential of your beginner orchestra with this complete collection of 50 hymn arrangements, now available with chord symbols. Arranged by L. Müller, this book provides a unique blend of traditional hymn melodies and chord notations, making it perfect for orchestras and ensembles looking to enhance their rehearsals and performances with additional instrumental support. The inclusion of chord symbols allows for flexibility, enabling guitarists, keyboardists, and other accompanying musicians to join in seamlessly.Included Hymns:1. A Mighty Fortress2. Abide With Me3. All Hail The Power of Jesus' Name4. All Hail to the Power5. Belmont Hymn6. Christ Arose7. Count Your Blessings8. Fairest Lord Jesus9. Glorious Things of Thee Are Spoken10. God Be With You11. God of Our Fathers12. God Reveals His Presence13. Great Is Thy Faithfulness14. Holy, Holy, Holy15. How Great Thou Art16. I Surrender All17. Is Your All on the Altar18. It Is Well with My Soul19. Jesus Christ is Risen Today20. Jesus is Passing This Way21. Joyful, Joyful, We Adore Thee22. Lead me, Lord23. Let us praise God24. Majesty25. Master, the Tempest is Raging26. Mine Eyes Have Seen the Glory27. Moment by Moment28. Nearer my God to Thee29. Nearer, still nearer30. Now the Day Is Over31. O Love That Will Not Let Me Go32. O the Deep, Deep Love of Jesus33. Onward, Christian Soldiers34. Praise Ye the Father35. Showers of Blessing36. Standing on the Promises37. Tell Me the Old, Old Story38. The Banner of the Cross39. The Fight Is On40. The Gospel Bells41. The King's Business42. The Lord Bless You and Keep You43. The Old Rugged Cross44. To God Be The Glory45. Tollite Hostias46. True-hearted, Whole-hearted47. Trust and Obey48. We Plow the Fields49. When I Survey The Wondrous Cross50. Wonderful Grace of Jesus**Instrumentation:*** Flute* Clarinet in Bb I & II* Soprano Saxophone* Alto Saxophone I & II* Horn in F* Trumpet in Bb I, II & III* Trombone I & II* Tuba* Violin I, II & III* Viola* Cello I & II* Contrabass* Piano**Key Features:**- **Chord Symbols**: Enhance rehearsals and performances by allowing guitar, keyboard, and other accompanying instruments to join the orchestra easily.- **Accessibility**: The simplified arrangements are designed for beginner orchestras, making it easy for young musicians to play alongside experienced accompanists.- **Versatility**: Perfect for worship services, educational settings, or community performances, these arrangements offer a dynamic and engaging musical experience.Bring the rich heritage of these beloved hymns to life in your orchestra with added versatility and depth. This collection with chord symbols opens up new possibilities for accompaniment, providing a fuller, more harmonious sound that both performers and listeners will enjoy.Add this valuable resource to your music library and inspire your orchestra with these timeless melodies!
$50.00
45.53 €
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Various
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L
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50 Hymns for Beginner Orchestra with Chord Symbols: Complete Collection of Traditional Arrangements
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Müller Publishing company
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SheetMusicPlus
Gibraltar 1890 "III" - Score Only
Level 3 - Digital Download SKU: A0.1456421 By Alicia Domínguez Arcos. By Francisco…
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Level 3 - Digital Download SKU: A0.1456421 By Alicia Domínguez Arcos. By Francisco Asenjo Barbieri. Arranged by Alicia Domínguez Arcos. Classical,Historic,Multicultural,Patriotic,Traditional,World. 36 pages. Alicia Dominguez #1035505. Published by Alicia Dominguez (A0.1456421). Third scene. Gibraltar in 1890. Lyrical dream in one act and in verse. Text by José Picón. Music by Francisco Asenjo Barbieri. Premiere: Theatre of the Zarzuela, Madrid, January 22, 1866. Action in Gibraltar.
$9.00
8.2 €
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Alicia Domínguez Arcos
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Alicia Domínguez Arcos
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Gibraltar 1890 "III" - Score Only
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Alicia Dominguez
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SheetMusicPlus
Gibraltar 1890 "V" - Score Only
Level 3 - Digital Download SKU: A0.1456438 By Alicia Domínguez Arcosz. By Francisc…
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Level 3 - Digital Download SKU: A0.1456438 By Alicia Domínguez Arcosz. By Francisco Asenjo Barbieri. Arranged by Alicia Domínguez Arcos. Classical,Historic,Multicultural,Patriotic,Traditional,World. 17 pages. Alicia Dominguez #1035521. Published by Alicia Dominguez (A0.1456438). Gibraltar in 1890. Lyrical dream in one act and in verse. Text by José Picón. Music by Francisco Asenjo Barbieri. Premiere: Theatre of the Zarzuela, Madrid, January 22, 1866. Action in Gibraltar.Fifth and last scene.Final scene. Samuel, Jews, women, children (“My Lord, mercy”).
$9.00
8.2 €
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Alicia Domínguez Arcosz
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Alicia Domínguez Arcos
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Gibraltar 1890 "V" - Score Only
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Alicia Dominguez
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SheetMusicPlus
At Your Altars
Ed. Dan Damon - Digital Download SKU: H1.8607DP Composed by And Short Songs), At Yo…
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Ed. Dan Damon - Digital Download SKU: H1.8607DP Composed by And Short Songs), At Your Altars (Chants, and Refrains. Arranged by And Short Songs), At Your Altars (Chants, and Refrains. Hymnal Supplements. General Worship. Hymn Collection. 127 pages. Hope Publishing - Digital #8607DP. Published by Hope Publishing - Digital (H1.8607DP). Various; Edited by Dan Damon.This collection, edited by Dan Damon, provides 98 short songs by various authors and composers that can be easily learned and memorized quickly. Most are arranged for four-part singing, but may also be sung in unison or by a single voice, making them suitable for individual prayer as well as corporate worship. Each hymn includes a 'suggested use' and the indexes include short biographical sketches of the hymn writers, some of which are published here for the first time. Dan's Introduction, sets out the way to use the pieces intelligently. Essential reading.
$14.95
13.61 €
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And Short Songs), At Your Altars
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Edited by Dan Damon
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At Your Altars
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Hope Publishing - Digital
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
43.66 €
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giova…
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String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.66 €
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni …
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.66 €
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.66 €
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
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