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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
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
BASS Sonata
Non classifié
717
Piano & claviers
Piano seul
114
Piano Facile
5
Orgue
4
Accompagnement Piano
3
Accordéon
2
Piano, Voix et Guitare
1
2 Pianos, 4 mains
1
+ 2 instrumentations
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Guitares
Guitare
20
Guitare notes et tablatures
3
Basse electrique
2
Ukulele
1
2 Mandolines (duo)
1
Mandoline
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
1
Voix duo, Piano
1
Voix Mezzo-Soprano, Piano
1
Chorale 2 parties
1
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
112
Flûte traversière
88
Flûte, Clarinette et Basson
62
Flûte, Hautbois, Basson
56
Flûte, Hautbois, Clarinette, Basson
51
Flûte à bec Alto, Basse continue
46
2 Flûtes traversières (duo)
45
3 Clarinettes (trio)
39
3 Flûtes à bec (trio)
37
2 Clarinettes (duo)
34
Flûte traversière et Piano
33
Flûte traversière, Basse continue
31
Clarinette Basse, Piano
31
Hautbois, Basson (duo)
29
2 Clarinettes, Basson
28
Quatuor de Clarinettes: 4 clarinettes
27
Flûte à Bec
22
Hautbois, Clarinette, Basson (trio d'anches)
17
Clarinette, Basson (duo)
17
Flûte à Bec, Piano
15
Trio de Flûtes: 3 flûtes
13
Ensemble de Clarinettes
12
2 Flûte à bec (duo)
11
Clarinette et Piano
8
Flûte à bec Soprano, Basse continue
7
Quintette de Clarinettes: 5 clarinettes
7
Ensemble de Flûtes
7
2 Saxophones (duo)
6
Quatuor de Flûtes : 4 flûtes
5
Quatuor de Flûtes à bec
5
Flûte, Hautbois, Clarinette (trio)
5
Flûte et Guitare
5
Hautbois, Piano (duo)
5
2 Hautbois et Basson
4
Flûte à bec Soprano
4
2 Hautbois (duo)
4
2 Flûtes, Basse continue
4
Saxophone Soprano et Piano
3
Saxophone Alto et Piano
3
Quintette de Saxophone: 5 saxophones
3
3 Saxophones (trio)
3
Ensemble de saxophones
3
Flûte, Violon et Violoncelle
2
Clarinette (partie séparée)
2
Saxophone Tenor et Piano
2
Clarinette
2
Quatuor de Saxophones: 4 saxophones
2
Cor anglais, Piano
1
Saxophone Alto
1
Saxophone Baryton
1
2 Cors Anglais Et Pianoforte
1
Flûte, Basson et Piano
1
Flûte à bec Alto, Piano
1
2 Flûtes traversières, Piano
1
Flûte, Violon
1
Flûte à bec Soprano, Piano
1
Saxophone Baryton, Piano
1
Saxophone
1
Saxophone (partie séparée)
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Violoncelle
1
Ensemble De Flûte à bec
1
Ensemble à vent
1
+ 58 instrumentations
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Cuivres
Trombone et Piano
9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Quatuor de cuivres: 4 trombones
6
Trombone basse et Piano
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Tuba et Piano
4
2 Trombones (duo)
4
Ensemble de Trombones
3
Euphonium, Piano (duo)
3
Trompette, Piano
3
Trompette (partie séparée)
2
Bass Clef Instruments
2
Trombone
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Trompette, Trombone (duo)
2
3 Trombones (trio)
2
Cor anglais, Piano
1
2 Tubas (duo)
1
2 Euphoniums (duo)
1
2 Trompettes (duo)
1
2 Cors Anglais Et Pianoforte
1
Tuba
1
Cor et Piano
1
Trio de Cuivres
1
2 Cors (duo)
1
+ 20 instrumentations
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Cordes
Violon, Basse continue
42
Violoncelle, Basse continue
38
2 Violons et Basse continue
36
Violoncelle, Piano
31
Violon et Piano
29
Contrebasse, Piano (duo)
27
Violoncelle, Contrebasse (duo)
18
Quintette à cordes: 2 violons, alto, violoncelle, basse
18
Quatuor à cordes: 2 violons, alto, violoncelle
17
2 Violoncelles (duo)
15
Violon, Alto (duo)
15
Contre Basse
14
Violon, Basson (duo)
12
Violoncelle
12
2 Altos (duo)
11
2 Contrebasses (duo)
10
Contrebasse (partie séparée)
10
Trio à Cordes: violon, alto, violoncelle
9
Alto, Piano
8
Violon
8
Alto (partie séparée)
6
Violon (partie séparée)
5
Flûte, Contrebasse (duo)
5
2 Violons (duo)
4
Violon, Violoncelle (duo)
4
Alto seul
3
Alto, Violoncelle (duo)
3
Trio à Cordes: 2 violons, violoncelle
2
Violoncelle , Guitare (duo)
2
Violoncelle (partie séparée)
2
4 Contrebasses
1
Harpe
1
Harpe, Flûte (duo)
1
Trio à Cordes: 3 violoncelles
1
2 Violons, Piano
1
+ 30 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
27
Orchestre
23
Orchestre de chambre
17
Orchestre d'harmonie
13
Ensemble de cuivres
5
Ensemble de Percussions
2
Ensemble Jazz
2
Batterie
1
+ 3 instrumentations
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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
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
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HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
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BASS Sonata
Trompette, Trombone (duo)
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Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trompette, Trombone (duo)
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FACILE
#
Giovanni Gabrieli
#
James M
#
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
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trompette, Trombone (duo)
#
FACILE
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
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
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