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--INSTRUMENTS--
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Quatuor à cordes: 4 violons
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4 partitions trouvées
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1
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
Symphony No. 5 by Beethoven for Trumpet and Trombone Duet
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Trompette, Trombone (duo)
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FACILE
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Classique
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Ludwig van Beethoven
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Ander
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Symphony No. 5 by Beethoven fo
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Woods Only, Arrangements
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SheetMusicPlus
B-Flat Trumpet,Instrumental Duet,Trombone - Level 2 - SKU: A0.1265908 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,Romant...
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B-Flat Trumpet,Instrumental Duet,Trombone - Level 2 - SKU: A0.1265908 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Classical,Romantic Period. 8 pages. Woods Only, Arrangements #858652. Published by Woods Only, Arrangements (A0.1265908). Adaptation of Ludwig van Beethoven’s Symphony No. 5 in C minor, Op. 67 for Trumpet and Trombone Duo. Known as the Symphony of Destiny, this work is one of the most popular and well-known in the entire European repertoire. This adaptation retains the original essence but with a reduced duration, presenting only the main themes of the opening. Ideal for beginner instrumental music students who want to experience orchestral music in a simplified form. Can be used by music teachers in ensemble practices, academic recitals, didactic concerts or assessment tests. The four movements are characterized by orchestral homogeneity and alternation: the first movement presents great tension; the second, a solemn funeral march; the third, a vivacity; and the fourth, triumph and magnificence.
$3.99
Minuet by Boccherini for Trumpet and Trombone Duet
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Trompette, Trombone (duo)
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FACILE
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Luigi Boccherini
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Ander
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Minuet by Boccherini for Trump
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Woods Only, Arrangements
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SheetMusicPlus
B-Flat Trumpet,Instrumental Duet,Trombone - Level 2 - SKU: A0.1266612 Composed by Luigi Boccherini. Arranged by Ander. Baroque,Classical,Traditional,Wed...
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B-Flat Trumpet,Instrumental Duet,Trombone - Level 2 - SKU: A0.1266612 Composed by Luigi Boccherini. Arranged by Ander. Baroque,Classical,Traditional,Wedding. 3 pages. Woods Only, Arrangements #859287. Published by Woods Only, Arrangements (A0.1266612). Adaptation for Trumpet and Trombone Duet of Luigi Boccherini’s String Quintet in E major, Op. 11, No. 5, G 275. Ideal for beginner students in classical music with the help of a teacher. The original essence of the work was maintained, with adaptations in tonality and tessitura of the instruments. Can be used in professional and academic recitals, didactic material and repertoire for ensemble practice. Boccherini was born in Lucca, Italy, and became a cello virtuoso. He moved to Spain, where he worked with the Spanish royal family. The third movement of the quintet, minuet and trio, is famous and often played as an independent piece. The work is beautiful and has good partial writing for all instruments, with melodies and rhythms typical of Boccherini. Suitable for concerts and home performances.
$3.99
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.
$47.95
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