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32
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20
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61
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38
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James E
intermédiaire
Quatuor de Cuivres: 2 trompettes, Cor, trombone
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Christmas Medley (What Child is This / Away in a Manger): Two Trumpets, Horn in F and Trombone
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Noël
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James R
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John A
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Christmas Medley
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John A. Dempsey
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.524592 Composed by James R. Murray. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sa...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.524592 Composed by James R. Murray. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 24 pages. John A. Dempsey #6052813. Published by John A. Dempsey (A0.524592). This triumphant brass quartet for two Bb trumpets, horn in F and trombone - a medley of two Christmas carols - is graced with both quiet, prayerful moments and joyful bursts of praise. Â Mood, tempo and time signature changes add to the dramatic impact of the music as a worship experience. Â It's a sweeping musical journey that celebrates the miracle of Jesus' birth. Â Recommended for Christmas plays, pageants and programs, holiday recitals and Christmas concerts as well as traditional Christmas church services and other seasonal worship events, as a prelude, postlude, an offertory, interlude, Christmas play overture and special music. Â 20 pages of music (that includes the score and separate two-page parts for trumpet 2, horn in f and trombone and a three-page part for trumpet 1). Â Concert Key: D minor / F major. Â Trumpet Key: E minor / G major. Â Horn in F Key: A minor / C major. Â Trombone Key: D minor / F major.
$12.99
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple 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
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Gabrieli: Canzon in Echo a 12
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 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: A0.1226321 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
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
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Gabrieli: Canzona in Echo Ch.
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jmsgu3
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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
All You Need Is Love
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Rock
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The Beatles
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Thomas Graf
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All You Need Is Love
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.569331 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCa...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.569331 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by Thomas Graf. Rock. Score and parts. 17 pages. Thomas Graf - the-hit-factory.com #5583159. Published by Thomas Graf - the-hit-factory.com (A0.569331). Beatles Classics, one of the best songs in music history Instrumentation: Part I (Tpt in Bb), Part II (Tpt in Bb), Part III (Horn in F/Flugelhorn), Part IV (Trombone in C / Baritone in Bb) Listen to the recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much! Check out our latest uploads: http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N... Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic .
$12.99
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