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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
BASS Sonata
Non classifié
254
Piano & claviers
Piano seul
41
Piano, Voix et Guitare
1
Orgue
1
Guitares
Guitare
13
Guitare notes et tablatures
3
2 Mandolines (duo)
1
Mandoline
1
Voix
Vents
Flûte, Hautbois, Basson
46
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
44
Flûte, Clarinette et Basson
39
Flûte traversière
33
2 Clarinettes, Basson
25
Hautbois, Basson (duo)
24
Flûte traversière, Basse continue
21
Flûte, Hautbois, Clarinette, Basson
21
2 Clarinettes (duo)
20
3 Clarinettes (trio)
17
Clarinette Basse, Piano
17
2 Flûtes traversières (duo)
17
Clarinette, Basson (duo)
15
Hautbois, Clarinette, Basson (trio d'anches)
14
Quatuor de Clarinettes: 4 clarinettes
14
Flûte à Bec
10
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9
Flûte traversière et Piano
8
Ensemble de Clarinettes
7
Trio de Flûtes: 3 flûtes
7
Flûte, Hautbois, Clarinette (trio)
4
Clarinette et Piano
3
Quatuor de Flûtes : 4 flûtes
3
Ensemble de Flûtes
3
2 Hautbois et Basson
3
Flûte à bec Soprano
3
Flûte à bec Soprano, Basse continue
2
2 Hautbois (duo)
2
Saxophone Tenor et Piano
2
Flûte et Guitare
2
Quatuor de Flûtes à bec
2
Hautbois, Piano (duo)
2
2 Flûtes, Basse continue
2
Quatuor de Saxophones: 4 saxophones
2
Ensemble de saxophones
2
Saxophone Alto et Piano
1
2 Flûte à bec (duo)
1
Quintette de Saxophone: 5 saxophones
1
3 Saxophones (trio)
1
Saxophone Soprano et Piano
1
Flûte, Violon
1
Flûte à bec Soprano, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone Baryton, Piano
1
Flûte, Hautbois, Piano (trio)
1
+ 40 instrumentations
Retracter
Cuivres
Quatuor de cuivres: 4 trombones
2
Trombone et Piano
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Euphonium, Piano (duo)
2
Cor et Piano
1
Ensemble de Trombones
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
+ 3 instrumentations
Retracter
Cordes
Violoncelle, Basse continue
23
Violon, Alto (duo)
13
Violon, Basson (duo)
12
Violon, Basse continue
11
2 Violons et Basse continue
9
Violoncelle
8
Violoncelle, Contrebasse (duo)
7
Trio à Cordes: violon, alto, violoncelle
6
Contrebasse, Piano (duo)
6
Violoncelle, Piano
6
Violon et Piano
5
Quatuor à cordes: 2 violons, alto, violoncelle
5
Alto (partie séparée)
5
Contre Basse
5
Flûte, Contrebasse (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
2 Altos (duo)
4
Alto, Piano
3
Violon, Violoncelle (duo)
2
2 Violoncelles (duo)
2
2 Contrebasses (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Harpe
1
Harpe, Flûte (duo)
1
Alto seul
1
2 Violons (duo)
1
Contrebasse (partie séparée)
1
Violon
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
5
Orchestre à Cordes
4
Orchestre
3
Orchestre d'harmonie
3
Ensemble Jazz
1
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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
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BASS Sonata
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Giovanni Gabrieli
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James M
#
Gabrieli: Canzona in Echo Ch.
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jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 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
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
#
INTERMÉDIAIRE
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon in Echo a 12
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
(+)
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 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
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BASS Sonata
