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Alto seul
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2 Altos (duo)
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Violon (partie séparée)
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Harpe
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Trio à Cordes: 3 violoncelles
4
Violoncelle
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Alto, Violoncelle (duo)
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Trio à Cordes: 2 violons, violoncelle
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Alto et Basson
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Violon, Guitare (duo)
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4 Violoncelles
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Contre Basse
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Alto, Guitare (duo)
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2 Harpes (duo)
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Violon, Basson (duo)
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Violoncelle , Guitare (duo)
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Quintette à cordes: 2 violons, alto, violoncelle, basse
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Trio à cordes
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Quintette à cordes: 2 violons, 2 altos, violoncelle
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Orchestre
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Cloches
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Trompette, Trombone (duo)
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Two-part Invention In C
Trompette, Trombone (duo)
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 5 - Digital Download SKU: …
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 5 - Digital Download SKU: A0.704637 Composed by Johann Sebastian Bach. Arranged by Dominic Meccia. Contemporary. Score and parts. 7 pages. Dominic Meccia #5359115. Published by Dominic Meccia (A0.704637).
$4.99
4.58 €
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Trompette, Trombone (duo)
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Johann Sebastian Bach
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Dominic Meccia
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Two-part Invention In C
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Dominic Meccia
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SheetMusicPlus
Two Part Invention In C Major
Trompette, Trombone (duo)
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Interactive Download SKU: A0.494…
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Interactive Download SKU: A0.494141 Composed by Johann Sebastian Bach. Arranged by Dominic Meccia. This edition: Interactive Download. Classical. Score and parts. 5 pages. Duration 49. Published by Dominic Meccia (A0.494141).
$4.99
4.58 €
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Trompette, Trombone (duo)
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Johann Sebastian Bach
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Dominic Meccia
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Two Part Invention In C Major
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Dominic Meccia
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SheetMusicPlus
Ten Christmas Carol Duets for Trumpet in B-flat and Trombone
Trompette, Trombone (duo)
B-Flat Trumpet,Instrumental Duet,Trombone - Level 3 - Digital Download SKU: A0.811260
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B-Flat Trumpet,Instrumental Duet,Trombone - Level 3 - Digital Download SKU: A0.811260 Composed by Traditional Christmas Carols. Arranged by Kenneth Knowles. Christmas. 13 pages. Gordon Cherry #6620777. Published by Gordon Cherry (A0.811260). The Ten Christmas Carol Duets for Trumpet and Trombone are traditional Carols that have been very beautifully and inventively arranged by Ken Knowles. They are intended to combine melodic interplay and rhythmic interest while retaining the beauty of the classic melodies.The Carols in the collection are:O Tannenbaum, Jingle Bells, Lo, How A Rose Ere Blooming, The First Noel, The Holly and the Ivy, Silent Night, Away in a Manger, Ding Dong Merrily on High,Christ was Born on Christmas Day/Wassail Song, Joy to the WorldThey are perfect for use in lessons or just for fun and appropriate for intermediate to advanced-intermediate performers.For Trumpet in B-flat and Trombone in bass clef or EuphoniumThis music is also available as a Kindle eBook on Amazon.
$17.50
16.07 €
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Trompette, Trombone (duo)
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Traditional Christmas Carols
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Kenneth Knowles
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Ten Christmas Carol Duets for Trumpet in B-flat and Trombone
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Gordon Cherry
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Trompette, Trombone (duo)
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Compos…
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download 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
44.04 €
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Trompette, Trombone (duo)
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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 Ch. 172 for Trumpet & Trombone Double Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Trompette, Trombone (duo)
Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Compo…
(+)
Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download 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
44.04 €
#
Trompette, Trombone (duo)
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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jmsgu3
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SheetMusicPlus
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