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ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
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FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
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MARIMBA
OCARINA
ORCHESTRE
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PERCUSSION
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1 591
Piano & claviers
Piano, Voix
339
Piano seul
71
Orgue
16
Piano, Voix et Guitare
13
Piano Facile
7
2 Pianos, 4 mains
7
Clavecin
5
Orgue, Trompette (duo)
4
Accompagnement Piano
2
2 Accordéons
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Orgue, Piano (duo)
1
+ 8 instrumentations
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Guitares
Guitare
13
Guitare notes et tablatures
6
Mandoline
2
4 Guitares (Quatuor)
1
2 Guitares (duo)
1
Voix
Voix seule
114
Voix haute
95
Voix et basse continue
55
Chorale SATB
47
Soli, choeur mixte et accompagnement
17
Voix Alto, Piano
17
Chorale 3 parties
12
Voix Soprano, Piano
12
Chorale Unison
10
Chorale SSATB
10
Voix moyenne, Piano
9
Voix duo
7
Pack Instrumental pour Chorale
7
Voix duo, Piano
7
Chorale TTBB
3
Voix Tenor, Piano
3
Chorale 2 parties
2
Voix basse, Piano
2
Chorale
1
+ 14 instrumentations
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Vents
3 Flûtes à bec (trio)
105
Flûte à bec Alto, Basse continue
55
Quatuor de Flûtes à bec
44
Flûte traversière et Piano
39
Flûte traversière, Basse continue
38
2 Flûte à bec (duo)
28
2 Flûtes traversières (duo)
22
5 Flûtes à bec
18
Hautbois, Piano (duo)
18
Clarinette et Piano
15
Flûte, Hautbois, Clarinette, Basson
15
Quatuor de Clarinettes: 4 clarinettes
15
3 Clarinettes (trio)
15
Flûte à Bec, Piano
13
Flûte, Hautbois, Clarinette (trio)
12
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
3 Saxophones (trio)
12
Flûte à bec Soprano, Basse continue
11
Saxophone Tenor et Piano
11
Ensemble de saxophones
10
Quatuor de Saxophones: 4 saxophones
10
Saxophone Alto et Piano
10
Flûte traversière
10
Quintette de Saxophone: 5 saxophones
9
Ensemble de Clarinettes
9
Quatuor de Flûtes : 4 flûtes
8
Flûte, Clarinette et Basson
7
Flûte, Hautbois, Basson
7
Clarinette
7
Ensemble De Flûte à bec
7
2 Saxophones (duo)
7
Saxophone Soprano et Piano
7
Ensemble de Flûtes
6
2 Flûtes, Basse continue
6
2 Clarinettes, Basson
5
Flûte et Guitare
5
Trio de Flûtes: 3 flûtes
5
Cor anglais, Piano
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Hautbois
4
2 Clarinettes (duo)
4
Flûte à bec Alto, Piano
3
Saxophone Baryton, Piano
3
Clarinette, Harpe (duo)
3
Flûte à bec Soprano
3
Flûte et Trio à cordes
3
Hautbois, Harpe
2
2 Hautbois (duo)
2
Flûte, Clarinette (duo)
2
Flûte à bec Soprano, Piano
2
Saxophone et Guitare
2
Saxophone et Harpe
2
2 Flûtes traversières, Piano
2
Hautbois (partie séparée)
2
Saxophone Alto
2
Flûte à Bec
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte, Violon et Violoncelle
1
Clarinette, Guitare (duo)
1
Flûte à bec Alto
1
Hautbois et Orchestre
1
4 Hautbois
1
2 Flûtes à bec, Guitare
1
Flûte, Violoncelle
1
Clarinette Basse, Piano
1
Cor anglais, Guitare (duo)
1
Saxophone (partie séparée)
1
Cor anglais et Harpe (duo)
1
2 Clarinettes, Piano
1
2 Cors Anglais Et Pianoforte
1
Quintette de Flûte : 5 flûtes
1
Flûte, Hautbois, Piano (trio)
1
+ 67 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
15
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
12
Trompette, Piano
12
Trompette
9
Trombone et Piano
9
Trombone
8
Cor et Piano
7
Tuba
7
Cor
6
Tuba et Piano
5
Euphonium, Piano (duo)
5
Cor anglais, Piano
4
Ensemble de Trombones
4
2 Cors (duo)
3
Ensemble de Trompettes
3
Quatuor de cuivres: 4 trombones
2
Trompette, Trombone (duo)
2
Trompette (partie séparée)
2
2 Trompettes, Clavier (piano ou orgue)
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Trompettes (duo)
2
2 Trombones (duo)
2
Cor et Harpe
2
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
2 Euphoniums (duo)
1
Cor anglais, Guitare (duo)
1
Trompette, Harpe
1
Cor anglais et Harpe (duo)
1
Ensemble de Cors
1
2 Tubas (duo)
1
2 Cors Anglais Et Pianoforte
1
Trompette, Orchestre
1
+ 28 instrumentations
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Cordes
Violon, Basse continue
55
Violon et Piano
43
Violoncelle, Basse continue
41
2 Violons et Basse continue
38
Violoncelle, Piano
38
Quatuor à cordes: 2 violons, alto, violoncelle
32
Violon
31
Alto, Piano
28
Trio à Cordes: violon, alto, violoncelle
19
Violoncelle
18
Violon, Alto (duo)
17
2 Violoncelles (duo)
11
Alto (partie séparée)
10
Contre Basse
10
2 Altos (duo)
10
2 Violons (duo)
8
Violon (partie séparée)
6
Contrebasse, Piano (duo)
6
Alto seul
6
Harpe, Flûte (duo)
5
Violon, Violoncelle (duo)
5
Trio à Cordes: 2 violons, violoncelle
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Trio à Cordes: 3 violoncelles
4
2 Harpes (duo)
3
Violoncelle (partie séparée)
3
Harpe, Violon (duo)
3
Violoncelle , Guitare (duo)
3
Violoncelle, Contrebasse (duo)
3
Harpe, Violoncelle (duo)
2
Ensemble d'Altos
2
Violon, Guitare (duo)
2
Ensemble de Violons
2
Alto et Harpe
1
Alto, Violoncelle (duo)
1
Violon, Orgue
1
Harpe, Trombone (duo)
1
Violoncelle, Orgue
1
Trio à cordes: 3 violins
1
4 Violoncelles
1
Trio à Cordes: 2 violons, alto
1
Harpe, Violon, Violoncelle
1
Alto, Guitare (duo)
1
2 Contrebasses (duo)
1
Quatuor à cordes: 4 violons
1
+ 40 instrumentations
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Orchestre à Cordes
62
Orchestre de chambre
57
Orchestre
29
Ensemble de cuivres
10
Orchestre d'harmonie
7
Vibraphone
1
Ensemble Jazz
1
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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
#
Giovanni Gabrieli
#
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...
(+)
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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