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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
E Baroque
Non classifié
766
Piano & claviers
Piano, Voix
977
Piano seul
369
Piano Facile
71
Orgue
67
Piano, Voix et Guitare
19
Clavecin
12
Piano Trio: piano, violon, violoncelle
10
2 Pianos, 4 mains
7
1 Piano, 4 mains
6
Piano Quatuor: piano, violon, alto, violoncelle
6
Orgue, Trompette (duo)
6
Orgue, Piano (duo)
5
Instruments en Do
4
Piano (partie séparée)
4
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano grosses notes
2
Accompagnement Piano
2
1 Piano, 6 mains
1
+ 13 instrumentations
Retracter
Guitares
Guitare notes et tablatures
82
Guitare
76
2 Guitares (duo)
28
Mandoline
16
Ukulele
12
4 Guitares (Quatuor)
5
Basse electrique
4
Guitare, Violon, Violoncelle (trio)
1
Ensemble de guitares
1
Banjo
1
Mandoline, Guitare (duo)
1
Ensemble de Ukulélés
1
Piano, Guitare (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
40
Voix seule
33
Chorale 3 parties
28
Voix haute
28
Voix Soprano, Piano
11
Voix duo, Piano
10
Chorale TTBB
10
Voix Alto, Piano
10
Chorale 2 parties
8
Chorale Unison
6
Voix moyenne, Piano
5
Voix duo
4
Voix basse, Piano
3
Voix Tenor, Piano
1
Voix Soprano
1
Chorale SSAA
1
+ 11 instrumentations
Retracter
Vents
Hautbois (partie séparée)
133
Saxophone (partie séparée)
101
2 Flûtes traversières (duo)
50
Clarinette et Piano
49
Quatuor de Clarinettes: 4 clarinettes
49
Flûte traversière et Piano
47
2 Saxophones (duo)
44
Ensemble de Clarinettes
43
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
41
2 Clarinettes (duo)
39
Quatuor de Saxophones: 4 saxophones
37
Clarinette
29
Flûte et Guitare
24
Flûte traversière
22
Clarinette (partie séparée)
22
Quintette de Clarinettes: 5 clarinettes
22
2 Flûte à bec (duo)
21
Flûte, Hautbois, Clarinette, Basson
20
Hautbois, Piano (duo)
20
3 Saxophones (trio)
15
Saxophone Alto et Piano
14
Saxophone Tenor et Piano
14
3 Clarinettes (trio)
13
Quintette de Saxophone: 5 saxophones
12
Saxophone Soprano et Piano
11
Flûte, Hautbois, Clarinette (trio)
9
Ensemble de Flûtes
9
2 Hautbois (duo)
8
Saxophone Baryton, Piano
7
Flûte, Clarinette (duo)
7
Flute (partie séparée)
6
Quatuor de Flûtes : 4 flûtes
6
Ocarina
6
Trio de Flûtes: 3 flûtes
6
Hautbois, Clarinette, Basson (trio d'anches)
5
Flûte à Bec
5
3 Flûtes à bec (trio)
5
Saxophone Alto
4
Quatuor de Flûtes à bec
4
Hautbois, Basson (duo)
4
Cor anglais, Piano
4
Flûte, Clarinette et Basson
4
Flûte à bec Alto
3
Flûte, Violoncelle
3
Clarinette, Basson (duo)
3
2 Cors Anglais Et Pianoforte
3
Flûte à bec Soprano
3
Quintette de Flûte : 5 flûtes
3
Saxophone, Clarinette (duo)
2
Clarinette, Violoncelle (duo)
2
Hautbois, Clarinette (duo)
2
Saxophone Tenor
2
Ensemble De Flûte à bec
2
Clarinette, Guitare (duo)
2
2 Clarinettes, Piano
2
Cor anglais et Harpe (duo)
1
Clarinette et Alto
1
Flûte, Violon
1
Flûte, Hautbois, Piano (trio)
1
Flûte traversière, Orgue (duo)
1
2 Flûtes traversières, Piano
1
Saxophone Baryton
1
Clarinette, Violon (duo)
1
Flûte, Alto (duo)
1
Clarinette, Orchestre
1
Flûte à bec Soprano, Piano
1
Saxophone
1
Harmonica
1
Clarinette Basse, Piano
1
Hautbois
1
Ensemble à vent
1
Flûte, Violon et Violoncelle
1
+ 67 instrumentations
Retracter
Cuivres
Trompette (partie séparée)
57
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
30
2 Trompettes (duo)
21
Trompette, Piano
18
Trompette
12
Trombone et Piano
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Cor (partie séparée)
8
2 Trombones (duo)
8
Trombone (partie séparée)
7
Trompette, Trombone (duo)
7
Trombone
7
2 Cors (duo)
7
Cor et Piano
6
Euphonium, Piano (duo)
6
Tuba et Piano
6
Quatuor de cuivres: 4 trombones
5
2 Tubas (duo)
5
Quatuor de cuivres: 4 cors
4
Euphonium, Tuba (duo)
4
Ensemble de Trompettes
4
Cor anglais, Piano
4
Tuba (partie séparée)
4
Tuba
4
Quatuor de Cuivres
3
Cor
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Cor, Orchestre
3
2 Cors Anglais Et Pianoforte
3
2 Euphoniums (duo)
3
Ensemble de Trombones
3
Euphonium
2
3 Trompettes (trio)
2
3 Trombones (trio)
2
Cor anglais et Harpe (duo)
1
Ensemble de Cors
1
Quatuor de cuivres: 4 trompettes
1
Trombone, Cor (duo)
1
Trombone, Tuba (duo)
1
Trombone basse et Piano
1
2 Euphoniums et 2 Tubas
1
Trompette, Cor (duo)
1
4 Tubas
1
+ 38 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
91
Violon (partie séparée)
89
Violon et Piano
68
Alto (partie séparée)
65
2 Violons (duo)
30
Violon, Violoncelle (duo)
27
Violon
25
Violoncelle
21
Alto, Piano
21
Trio à Cordes: violon, alto, violoncelle
21
2 Violoncelles (duo)
20
Violoncelle, Piano
19
Violoncelle (partie séparée)
18
Contrebasse (partie séparée)
17
Harpe
17
Violon, Alto (duo)
14
Trio à Cordes: 2 violons, violoncelle
8
2 Altos (duo)
8
Alto seul
6
Trio à Cordes: 3 violoncelles
5
Contre Basse
4
Alto, Violoncelle (duo)
4
Violon, Guitare (duo)
4
Violoncelle , Guitare (duo)
3
2 Contrebasses (duo)
3
Harpe, Flûte (duo)
2
Violoncelle, Contrebasse (duo)
2
Trio à cordes: 3 violins
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Piano Trio: Violon, Alto, Piano
2
2 Violons, Piano
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violoncelle, Orchestre
2
Harpe, Violon (duo)
1
Alto, Guitare (duo)
1
Violoncelle, Basse continue
1
Quatuor à cordes: 4 violons
1
Trio à cordes: 3 altos
1
Harpe, Violoncelle (duo)
1
Contrebasse, Piano (duo)
1
Harpe, Violon, Violoncelle
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, alto
1
Flûte, Contrebasse (duo)
1
Violoncelle, Orgue
1
Violon, Orgue
1
Alto et Harpe
1
+ 42 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
50
Orchestre de chambre
47
Ensemble de cuivres
34
Orchestre d'harmonie
24
Orchestre
24
Ensemble Jazz
6
Percussion (partie séparée)
5
Marimba
4
Piano et Orchestre
3
Ensemble de Percussions
3
Vibraphone (partie séparée)
3
Vibraphone
2
Orchestre, Violon
2
Timbales (partie séparée)
1
Quintette à Vent
1
Cloches
1
+ 11 instrumentations
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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…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
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E Baroque
Quatuor de Cuivres: 2 trompettes, Cor, trombone
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"Symphony for 4 Horns" for Brass Quartet - Johann Melchior Molter
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
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INTERMÉDIAIRE
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Classique
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Johann Melchior Molter
#
Dennis S
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"Symphony for 4 Horns&quo
#
Dennis S. Mowers
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.827219 Composed by Johann Melchior Molter. Arranged by Dennis S. Mowers. Baroque. Score and par...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.827219 Composed by Johann Melchior Molter. Arranged by Dennis S. Mowers. Baroque. Score and parts. 32 pages. Dennis S. Mowers #3475829. Published by Dennis S. Mowers (A0.827219). Molter's Symphony for 4 Horns is an obscure piece of music that has survived to this day as a single original score. This version has been rearranged for brass quartet, and the key has been changed from C Major to E-flat Major for ease of playing.Includes:-Score (15 pages)-Trumpet in B Flat 1 (3 pages)-Trumpet in B Flat 2 (3 pages)-Horn in F (3 pages)-Trombone (3 pages)
$11.99
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
#
Giovanni Gabrieli
#
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
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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...
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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
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