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ACCORDEON
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AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLARINETTE
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354
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36
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17
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13
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12
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11
Orgue
5
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
2
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2
Accompagnement Piano
2
Orgue et Orchestre
1
Accordéon, Corde(s)
1
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Guitare
6
Ligne De Mélodie, (Paroles) et Accords
3
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1
2 Guitares (duo)
1
Voix
Chorale SATB
33
Chorale 3 parties
9
Voix seule
8
Chorale Unison
7
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4
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3
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2
Chorale SSAA
2
Voix duo, Orgue
1
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1
Voix haute
1
Chorale SSAATTBB
1
Voix duo
1
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2 Flûtes traversières (duo)
32
Flûte traversière et Piano
22
Hautbois, Piano (duo)
21
2 Saxophones (duo)
18
Saxophone Alto et Piano
16
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15
Clarinette et Piano
15
Flûte, Clarinette (duo)
12
Flûte, Violoncelle
12
Clarinette, Violoncelle (duo)
12
Hautbois, Violoncelle
11
Clarinette, Violon (duo)
10
Flûte, Violon
10
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9
Flûte, Alto (duo)
9
Clarinette, Basson (duo)
9
Flûte, Hautbois, Clarinette, Basson
8
Clarinette et Alto
8
Saxophone Alto
7
Saxophone Tenor et Piano
7
Saxophone, Clarinette (duo)
6
Hautbois et alto (duo)
6
Saxophone Soprano et Piano
6
Quatuor de Saxophones: 4 saxophones
6
2 Hautbois (duo)
6
Hautbois, Clarinette (duo)
5
Hautbois, violon (duo)
5
2 Clarinettes (duo)
5
Clarinette, Trompette (duo)
4
Saxophone (partie séparée)
4
Ensemble de Clarinettes
4
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4
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4
Flûte traversière
4
Cor anglais, Piano
3
Flûte, Trompette (duo)
3
Clarinette, Trombone (duo)
3
Quintette de Saxophone: 5 saxophones
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Hautbois (partie séparée)
3
Hautbois, trombone (duo)
3
Clarinette
3
Flûte, Saxophone (duo)
2
Flûte, Hautbois, Clarinette (trio)
2
Hautbois, Flûte
2
3 Clarinettes (trio)
2
Flûte, Violon, Piano
2
Flûte, Violoncelle, Piano (trio)
2
Clarinette (partie séparée)
2
Clarinette, Tuba
2
Flûte à Bec
2
Flûte, Hautbois, Basson
2
3 Saxophones (trio)
2
Ensemble de Flûtes
2
Quatuor de Clarinettes: 4 clarinettes
2
Flûte, Tuba (duo)
2
Flûte, Basson et Piano
1
Flûte, Hautbois, Piano (trio)
1
Clarinette, Contrebasse (duo)
1
Flûte, Clarinette, Piano (trio)
1
2 Flûtes traversières, Piano
1
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1
Flûte et Guitare
1
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Flute (partie séparée)
1
Clarinette Basse, Piano
1
Flûte à bec Soprano
1
Saxophone Tenor
1
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14
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13
Trompette, Trombone (duo)
12
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8
Tuba et Piano
7
Cor, Violoncelle (duo)
6
Trompette, Violoncelle (duo)
6
2 Trombones (duo)
6
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5
Euphonium, Piano (duo)
5
Quatuor de Cuivres
5
2 Trompettes (duo)
5
Trompette, Saxophone (duo)
4
Trompette, Basson (duo)
4
Cor anglais, Piano
3
Trompette et Guitare
3
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3
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3
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3
Trompette
3
Trombone
3
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2
Cor
2
Euphonium
2
2 Tubas (duo)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trombone, Violon (duo)
1
Cor (partie séparée)
1
Ensemble de Trombones
1
Cor et Basson (duo)
1
Tuba
1
Tuba (partie séparée)
1
Trompette, violon (duo)
1
Trombone (partie séparée)
1
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24
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24
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22
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18
2 Violons (duo)
14
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12
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10
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8
Alto, Violoncelle (duo)
8
2 Violoncelles (duo)
6
Violoncelle
6
2 Altos (duo)
6
Violon
6
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6
Alto seul
5
Violon, Guitare (duo)
5
Contrebasse, Piano (duo)
3
Alto et Basson
3
Trio à Cordes: 2 violons, violoncelle
3
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2
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2
Violoncelle, Contrebasse (duo)
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Alto (partie séparée)
2
Violoncelle , Guitare (duo)
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Violon (partie séparée)
1
Violon, Tuba (duo)
1
Quatuor à cordes : 4 altos
1
Violoncelle (partie séparée)
1
Flûte, Contrebasse (duo)
1
Piano Trio: Violon, Alto, Piano
1
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1
Violon, Clarinette, Piano (trio)
1
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Ensemble Jazz
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Percussion
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Marimba et Orgue
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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
#
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...
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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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