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--INSTRUMENTS--
ACCORDEON
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267
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74
Piano seul
64
Orgue
20
Piano, Voix et Guitare
16
Accompagnement Piano
15
Piano Facile
11
Instruments en Do
7
Piano Quatuor: piano, 2 violons, violoncelle
4
2 Pianos, 4 mains
4
1 Piano, 4 mains
3
Piano Trio: piano, violon, violoncelle
2
Accordéon
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 8 instrumentations
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Guitares
Ligne De Mélodie, (Paroles) et Accords
3
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2
Ukulele
2
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1
Voix
Chorale SATB
116
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87
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49
Voix duo, Piano
47
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36
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11
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10
Chorale SSAA
7
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1
Voix basse
1
Voix Soprano, Piano
1
Voix haute
1
Chorale SSATTB
1
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Vents
Flûte traversière et Piano
25
Saxophone Alto et Piano
22
Saxophone Tenor et Piano
21
2 Saxophones (duo)
19
Saxophone Soprano et Piano
18
Clarinette et Piano
18
Quatuor de Saxophones: 4 saxophones
16
Flûte, Hautbois, Clarinette, Basson
14
Hautbois, Piano (duo)
14
Saxophone Baryton, Piano
10
Flûte traversière
7
Cor anglais, Piano
7
Flûte, Violon, Piano
6
Clarinette Basse, Piano
6
Saxophone, Clarinette (duo)
5
Clarinette
5
Clarinette, Violon (duo)
4
Flûte, Clarinette (duo)
4
3 Saxophones (trio)
4
2 Clarinettes (duo)
3
Quintette de Saxophone: 5 saxophones
3
2 Flûtes traversières (duo)
3
3 Clarinettes (trio)
3
Saxophone Tenor
3
Quatuor de Clarinettes: 4 clarinettes
2
2 Hautbois (duo)
2
Clarinette et Alto
2
Flûte, Saxophone (duo)
2
Hautbois, Basson (duo)
2
Hautbois
2
Hautbois (partie séparée)
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Saxophone Soprano
2
Saxophone Alto
2
Saxophone Baryton
2
Quintette de Clarinettes: 5 clarinettes
2
Quatuor de Flûtes : 4 flûtes
1
Flûte, Trompette (duo)
1
Flûte, Violon et Violoncelle
1
2 Saxophones, Piano
1
Piccolo, Piano
1
Trio de Flûtes: 3 flûtes
1
Hautbois, Flûte
1
Flûte et Guitare
1
Quatuor de Flûtes à bec
1
Flûte à bec Soprano, Piano
1
+ 41 instrumentations
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Cuivres
Trombone et Piano
23
Trompette, Piano
17
Cor et Piano
11
Trompette
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Cor anglais, Piano
7
Euphonium, Piano (duo)
6
Trompette, Saxophone (duo)
4
2 Trombones (duo)
4
Trompette, Trombone (duo)
4
Trombone
4
Cor
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Tuba
2
Tuba et Piano
2
Quatuor de cuivres: 4 trombones
2
2 Trompettes (duo)
2
Quatuor de cuivres: 4 trompettes
1
3 Trompettes (trio)
1
Euphonium
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone, Orgue
1
Quatuor de cuivres: 4 cors
1
2 Tubas (duo)
1
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Cordes
Alto, Piano
20
Quatuor à cordes: 2 violons, alto, violoncelle
18
Violoncelle, Piano
17
Violon et Piano
15
Violoncelle
8
Violon
5
Trio à Cordes: violon, alto, violoncelle
5
Violon, Violoncelle (duo)
4
Piano Trio: Violon, Alto, Piano
3
Contrebasse, Piano (duo)
3
Alto seul
3
2 Altos (duo)
3
Harpe, Voix
2
Alto et Harpe
2
Contre Basse
2
Violon, Alto (duo)
2
Harpe, Violoncelle (duo)
2
Harpe, Violon (duo)
2
4 Violoncelles
2
Harpe, Flûte (duo)
1
Trio à Cordes: 2 violons, alto
1
2 Violons (duo)
1
2 Violoncelles (duo)
1
+ 18 instrumentations
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Cloches
19
Orchestre d'harmonie
6
Ensemble de cuivres
6
Ensemble de Percussions
2
Ensemble Jazz
2
Orchestre de chambre
2
Jazz combo
1
Orchestre à Cordes
1
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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
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DULCIMER
EUPHONIUM
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FORMATION MUSI…
GUITARE
GUITARE LAP ST…
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Trompette, Trombone (duo)
Partitions à imprimer
4 partitions trouvées
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Mother At Your Feet Is Kneeling
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Trompette, Trombone (duo)
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FACILE
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Musique Sacrée
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Christian contemporain
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Daughter'S Of St
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Stephen DeCesare
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Mother At Your Feet Is Kneelin
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Exultet Music
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SheetMusicPlus
Trombone,Trumpet - Level 2 - SKU: A0.623506 By Daughter'S Of St. Paul. By David Kapp and Sister S.C. Arranged by Stephen DeCesare. Christian,Contemporar...
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Trombone,Trumpet - Level 2 - SKU: A0.623506 By Daughter'S Of St. Paul. By David Kapp and Sister S.C. Arranged by Stephen DeCesare. Christian,Contemporary,Praise & Worship,Sacred,Wedding. 12 pages. Exultet Music #4354653. Published by Exultet Music (A0.623506). (This version contains two Trombones in place of a French Horn and Trombone) One of the earliest vernacular hymns used in popular devotions in Catholic churches in America that was frequently used at weddings and funerals has now been freshly arranged for a Brass Quartet (Bb-Trumpet (2), Trombone (2)) with Piano accompaniment. Accessible and appropriate for any church or concert setting. Can be used at various times throughout the liturgical year.
$12.99
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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1 Bass Trombone
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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
#
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.
$47.95
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