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ALTO
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After - Piano solo
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396
Piano & claviers
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49
Instruments en Do
15
Accordéon
9
Clavecin
1
Orgue, Trompette (duo)
1
Guitares
Guitare
150
Guitare notes et tablatures
93
Guitare (partie séparée)
10
Paroles et Accords
5
Basse electrique
5
Dulcimer
5
Ukulele
4
Mandoline
3
2 Guitares (duo)
2
Ligne De Mélodie, (Paroles) et Accords
2
Guitare Pedal Steel
1
Banjo
1
+ 7 instrumentations
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Voix
Chorale SATB
66
Chorale 3 parties
16
Chorale TTBB
16
Voix seule
12
Chorale SSAA
10
Chorale Unison
6
Voix duo
4
Chorale 2 parties
4
Voix Baryton
1
Voix basse
1
Soli, choeur mixte et accompagnement
1
Voix Soprano
1
+ 7 instrumentations
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Flûte traversière
113
Clarinette
77
Saxophone Alto
70
Saxophone (partie séparée)
51
Saxophone Tenor
39
Hautbois (partie séparée)
31
Hautbois
20
Flûte, Hautbois, Clarinette, Basson
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Clarinette, Guitare (duo)
14
3 Saxophones (trio)
13
Quatuor de Saxophones: 4 saxophones
13
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11
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10
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9
2 Saxophones (duo)
8
3 Clarinettes (trio)
8
Quintette de Clarinettes: 5 clarinettes
7
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7
Flute (partie séparée)
7
2 Clarinettes (duo)
6
Ensemble de Clarinettes
6
Saxophone
5
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5
Quintette de Flûte : 5 flûtes
5
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5
Saxophone Soprano
4
Ensemble de Flûtes
4
Quatuor de Flûtes à bec
3
Trio de Flûtes: 3 flûtes
3
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3
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3
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2
Ocarina
2
Cornemuse
2
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2
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2
Clarinette (partie séparée)
2
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2
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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85
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69
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49
Cor
36
Ensemble de Trompettes
35
Trompette (partie séparée)
27
Trombone (partie séparée)
25
Tuba
23
Quatuor de Cuivres : 2 trompettes, trombone, tuba
11
Cor (partie séparée)
6
Tuba (partie séparée)
5
2 Trombones (duo)
4
Trompette, Trombone (duo)
4
2 Cors (duo)
4
Quatuor de cuivres: 4 trombones
3
Quatuor de cuivres: 4 cors
3
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3
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2
3 Trompettes (trio)
2
2 Trompettes (duo)
2
Cor anglais, Guitare (duo)
2
Quatuor de Cuivres
2
2 Tubas (duo)
2
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2
Ensemble de Trombones
2
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2
3 Trombones (trio)
2
3 Tubas (trio)
1
Cor et Orgue
1
Euphonium, Tuba (duo)
1
3 Cors (trio)
1
Ensemble de Cors
1
Trompette, Orchestre
1
Ensemble de Tubas
1
Euphonium
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
2 Euphoniums et 2 Tubas
1
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116
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86
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57
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43
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31
Contre Basse
26
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9
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7
Contrebasse (partie séparée)
6
Alto (partie séparée)
6
Trio à Cordes: violon, alto, violoncelle
6
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6
Violoncelle , Guitare (duo)
4
2 Violoncelles (duo)
4
Violon, Alto (duo)
4
2 Altos (duo)
3
Violon (partie séparée)
3
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3
Alto, Guitare (duo)
2
Quatuor à cordes : 4 altos
1
Quatuor à cordes: 4 violons
1
Violon, Orgue
1
Trio à cordes: 3 violins
1
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1
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1
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1
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1
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110
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74
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41
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32
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23
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15
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12
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9
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8
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5
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4
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4
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3
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3
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2
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2
2 Xylophones
2
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--INSTRUMENTS--
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AUTOHARPE
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After - Piano solo
Quatuor de Cuivres: 2 trompettes, Cor, trombone
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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
#
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
#
INTERMÉDIAIRE
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzona in Echo Ch.
#
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...
(+)
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
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After - Piano solo
