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James Guthrie
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Piano & claviers
Piano Quatuor: piano, violon, alto, violoncelle
53
Piano seul
33
Piano Trio: piano, violon, violoncelle
28
Orgue
26
Piano Quintette: piano, 2 violons, alto, violoncelle
6
Piano Facile
3
Instruments en Do
1
Piano, Voix et Guitare
1
+ 3 instrumentations
Retracter
Guitares
Piano, Guitare (duo)
7
Guitare notes et tablatures
2
Guitare
2
3 Guitares (trio)
1
Voix
Chorale SATB
6
Vents
Flûte traversière et Piano
299
Clarinette et Piano
220
2 Saxophones (duo)
186
Hautbois, Piano (duo)
185
Saxophone Alto et Piano
159
Saxophone Soprano et Piano
149
Saxophone Tenor et Piano
147
Saxophone Baryton, Piano
146
2 Flûtes traversières (duo)
145
Clarinette Basse, Piano
118
2 Clarinettes (duo)
117
Cor anglais, Piano
100
Clarinette
60
2 Hautbois (duo)
58
Quatuor de Saxophones: 4 saxophones
44
3 Saxophones (trio)
28
3 Clarinettes (trio)
27
Quatuor de Clarinettes: 4 clarinettes
16
Ensemble de Flûtes
15
2 Cors Anglais Et Pianoforte
14
Trio de Flûtes: 3 flûtes
14
Hautbois, Basson (duo)
13
Clarinette, Violoncelle (duo)
13
Piccolo, Piano
12
Flûte, Violoncelle
12
Clarinette, Harpe (duo)
8
Hautbois, Harpe
8
Ensemble de Clarinettes
7
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7
Hautbois, Violoncelle
6
Quatuor de Flûtes : 4 flûtes
6
Flûte traversière
5
Ensemble de saxophones
4
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4
Flûte, Hautbois (duo)
4
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3
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3
Flûte à bec Alto, Piano
3
Flûte, Clarinette (duo)
3
Flûte, Hautbois, Clarinette, Basson
3
Quintette de Saxophone: 5 saxophones
2
Flûte, Violon et Violoncelle
2
Flûte, Violon
2
Cor anglais et Harpe (duo)
2
Saxophone Baryton
2
Saxophone et Harpe
2
Quintette de Clarinettes: 5 clarinettes
2
Saxophone, Basson (duo)
2
Saxophone Alto
2
Clarinette Basse
2
Saxophone et Piano
1
Hautbois et alto (duo)
1
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1
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1
Clarinette, Violon (duo)
1
2 Hautbois et Basson
1
Clarinette, Basson (duo)
1
Hautbois
1
Saxophone Tenor
1
Flûte, Violoncelle, Piano (trio)
1
2 Hautbois, Piano
1
Flûte, Clarinette, Piano (trio)
1
2 Flûtes traversières, Piano
1
Flûte à bec Soprano, Piano
1
Flûte et Trio à cordes
1
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Euphonium, Piano (duo)
135
Cor et Piano
115
Trombone et Piano
115
Cor anglais, Piano
100
Trompette, Piano
83
2 Cors (duo)
60
Tuba et Piano
56
Trompette
44
2 Trombones (duo)
41
2 Euphoniums (duo)
36
2 Trompettes (duo)
36
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
30
2 Tubas (duo)
15
2 Cors Anglais Et Pianoforte
14
Cor, Violoncelle (duo)
6
Trompette, Trombone (duo)
6
Trio de Cuivres
5
3 Trombones (trio)
5
Cor
5
Euphonium, Tuba (duo)
4
Ensemble de Trombones
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Trombone basse et Piano
3
Tuba et Orgue
3
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3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trombone, violoncelle (duo)
2
Trombone, Tuba (duo)
2
Cor anglais et Harpe (duo)
2
Tuba
2
Euphonium
2
Quatuor de cuivres: 4 cors
1
Trombone basse
1
3 Cors (trio)
1
Trompette, Tuba (duo)
1
Trompette, Violoncelle (duo)
1
+ 31 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
308
Violon et Piano
180
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165
Alto, Piano
156
Trio à Cordes: violon, alto, violoncelle
96
2 Violoncelles (duo)
68
2 Violons (duo)
62
2 Altos (duo)
61
Violon, Violoncelle (duo)
22
Violoncelle
20
2 Contrebasses (duo)
16
Alto, Violoncelle (duo)
15
Harpe, Flûte (duo)
14
Violon, Alto (duo)
14
Harpe
12
Harpe, Violon (duo)
8
Violon
7
Trio à cordes
5
Trio à Cordes: 3 violoncelles
4
4 Violoncelles
4
Violoncelle, Contrebasse (duo)
3
Harpe, Violoncelle (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
Ensemble de Violoncelles
2
Alto seul
2
Alto et Harpe
2
Quatuor à cordes : 4 altos
2
Alto (partie séparée)
1
Contrebasse, Piano (duo)
1
Violoncelle, Orgue
1
Violon, Orgue
1
Trio à Cordes: 2 violons, alto
1
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Orchestre à Cordes
118
Ensemble de cuivres
25
Orchestre d'harmonie
14
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9
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8
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4
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1
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James Guthrie
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
#
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
#
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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