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Trompette, Trombone (duo)
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18 Easy Gospel Duets Vol.2 for Trumpet and Trombone
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Trompette, Trombone (duo)
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Various
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David McKeown
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18 Easy Gospel Duets Vol.2 for
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David McKeown
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - SKU: A0.590991 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise ...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - SKU: A0.590991 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and parts. 29 pages. David McKeown #6259267. Published by David McKeown (A0.590991). 18 Easy Gospel Duets Vol.2 for Trumpet and Trombone is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and keys for one Trumpet and one Trombone.The standard is early intermediate to intermediate. Players with a year or two’s experience will enjoy playing these duets, with plenty of interest in both parts and imaginative arrangements. These duets are ideal for use in concerts or worship, formal or informal. Click on the link above to hear samples of these duets performed on YouTube, performed on Clarinet.The hymns are in alphabetical order and are as follows· O Mary Don’t You Weep, · O When the Saints, · Old Time Religion, · Onward Christian Soldiers, · Rock of Ages, · Shall We Gather at the River, · Stand Up, Stand Up for Jesus, · Standing in the Need of Prayer, · Swing Low Sweet Chariot, · Steal Away, · There is a Fountain Filled with Blood, · There is Power in the Blood, · This Little Light of Mine, · Wade in the Water, · Were You There? · What a Friend We Have in Jesus, · When the Roll Is Called Up Yonder, · When We All Get to Heaven. If you like these duets, then there are another 18 just like them in Volume 1. To find them copy and paste 18 Easy Gospel Duets Vol.1 for Trumpet and Trombone in the Search Bar above. There are also longer and more challenging arrangements available in 10 Gospel Duets for Trumpet and Trombone.
$9.99
18 Easy Gospel Duets Vol.1 for Trumpet and Trombone
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Trompette, Trombone (duo)
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Various
#
David McKeown
#
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18 Easy Gospel Duets Vol.1 for
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David McKeown
#
SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - SKU: A0.590950 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise ...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - SKU: A0.590950 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and parts. 25 pages. David McKeown #6259075. Published by David McKeown (A0.590950). 18 Easy Gospel Duets Vol.1 for Trumpet and Trombone is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and keys for one Trumpet and one Trombone.The standard is early intermediate to intermediate. Players with a year or two’s experience will enjoy playing these duets, with plenty of interest in both parts and imaginative arrangements. These duets are ideal for use in concerts or worship, formal or informal. Click on the link above to hear samples of these duets performed on YouTube, performed on Clarinet.The hymns are in alphabetical order and are as follows· Abide with Me, · Amazing Grace, · Blessed Assurance, · Deep River, · Down by the Riverside, · Go Down Moses, · Go Tell It on the Mountain, · He’s Got the Whole World in HIs Hands, · Higher Ground, · Jesus on the Mainline, · Joshua Fought the Battle of Jericho, · Just a Closer Walk with Thee, · Just as I Am, · Just Over in the Glory Land, · Kumbaya My Lord, · Love Lifted Me, · Nobody Knows the Trouble I’ve Seen, · Nothing but the Blood of Jesus. If you like these duets, then there are another eighteen just like them in Volume 2. To find them copy and paste 18 Easy Gospel Duets Vol.2 for Trumpet and Trombone in the Search Bar above. There are also longer and more challenging arrangements available in 10 Gospel Duets for Trumpet and Trombone.
$9.99
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trompette, Trombone (duo)
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Fes...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst of all, Gabrieli 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 in 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: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trompette, Trombone (duo)
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
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SheetMusicPlus
Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Fes...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst of all, Gabrieli 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 he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
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