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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
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Renaissance Choral Music
Non classifié
105
Piano & claviers
Piano seul
3
Piano Facile
3
Piano, Voix
2
Orgue
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Guitares
Ukulele
2
Guitare notes et tablatures
1
Mandoline
1
Voix
Chorale SATB
392
Chorale 3 parties
120
Chorale 2 parties
35
Chorale TTBB
29
Chorale
25
Chorale SSATBB
14
Pack Instrumental pour Chorale
13
Chorale SSAATTBB
10
Chorale Unison
10
Chorale SSAA
9
Chorale SATTB
5
Chorale SAATB A Cappella
5
Chorale SSATB
1
Chorale SSATTB
1
+ 9 instrumentations
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Vents
Quatuor de Clarinettes: 4 clarinettes
7
Flûte, Hautbois, Clarinette, Basson
6
Hautbois, Piano (duo)
6
Clarinette et Piano
6
3 Saxophones (trio)
5
Quintette de Saxophone: 5 saxophones
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Quatuor de Saxophones: 4 saxophones
5
Saxophone Alto et Piano
4
Flûte à bec Soprano
4
Ensemble de Flûtes
3
Ensemble de Clarinettes
3
Flûte traversière et Piano
3
Quintette de Flûte : 5 flûtes
2
Saxophone Soprano et Piano
2
3 Clarinettes (trio)
2
Trio de Flûtes: 3 flûtes
2
Quatuor de Flûtes : 4 flûtes
1
Saxophone Tenor et Piano
1
Flûte à bec Alto
1
Ensemble de Hautbois
1
Quatuor de Flûtes à bec
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone Baryton, Piano
1
Cor anglais, Piano
1
+ 22 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
18
2 Euphoniums et 2 Tubas
5
Quatuor de Cuivres
5
Quatuor de cuivres: 4 trombones
4
Tuba et Piano
3
Trompette, Trombone (duo)
3
Trombone et Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Ensemble de Trombones
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Ensemble de Cors
2
Trio de Cuivres
2
Cor et Piano
2
Trombone basse et Piano
1
Trompette
1
Cor anglais, Piano
1
Tuba et Orgue
1
Trompette, Piano
1
+ 13 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
14
Trio à Cordes: violon, alto, violoncelle
7
Alto, Piano
4
Violoncelle, Piano
3
Violon et Piano
2
4 Violoncelles
1
Violoncelle
1
Trio à Cordes: 3 violoncelles
1
Contrebasse (partie séparée)
1
Trio à cordes: 3 violins
1
Harpe
1
+ 6 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
12
Ensemble de cuivres
7
Orchestre d'harmonie
4
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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
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
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OCARINA
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ORGUE
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Crtitères actifs :
Renaissance Choral Music
Trompette, Trombone (duo)
Partitions à imprimer
3 partitions trouvées
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1
Sing Joyfully (Eb) ( Brass Sextet) (3 Trp, 3 Trb)
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Trompette, Trombone (duo)
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INTERMÉDIAIRE/AVANCÉ
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William Byrd
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Regis Bookshar
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Sing Joyfully
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Regis Bookshar
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SheetMusicPlus
Trombone,Trumpet - Level 4 - SKU: A0.1344013 Composed by William Byrd. Arranged by Regis Bookshar. Chamber,Early Music,Historic,Instructional,Renaissanc...
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Trombone,Trumpet - Level 4 - SKU: A0.1344013 Composed by William Byrd. Arranged by Regis Bookshar. Chamber,Early Music,Historic,Instructional,Renaissance. 27 pages. Regis Bookshar #929495. Published by Regis Bookshar (A0.1344013). Sing Joyfully William Byrd - Brass Sextet - Advanced/Intermediate - .William Byrd was the greatest British composer of the late Renaissance. and just maybe, the greatest British composer ever. He wrote a huge body of choral music, some of it profound and timeless. He also composed brilliant, virtuoso pieces and his motet-like anthem, Sing Joyfully, a polyphonic setting of Psalm 81, written in 1590, is perhaps his best-known one. It is enchanting to listen to and fun to sing. Regis Bookshar thought that instrumental performers should have the same opportunity that singers have experienced for years, so he has now transcribed, edited and arranged this wonderful composition for a wide variety of instrumental ensembles, including this one for a Brass Sextet, consisting of 3 Bb Trumpets and 3 Trombones.Since no tempo is indicated and there are no written dynamic or phrase markings in William Byrd's original score, Regis Bookshar has taken the liberty to included them in order to provide direction and life to the piece. This arrangement is suitable for high school and college students, and perhaps even some younger students. It is perfect for concerts, recitals and church services, but could be performed for any occasion. Included are a score and a complete set of parts (27 pages).Please take the time to look for other versions of this composition. You may find something else that may also suit your needs. Also, please feel free to search for other arrangements by Regis Bookshar as there are numerous selections in a variety of styles also available for purchase. You may find something else which might interest you. Please continue to check back periodically because new arrangements are being added as often as possible. I'm certain that this wonderful arrangement of William Byrd's magnificaebt anthem, Sing Joyfully, will continue to delight both performers and audiences alike for many years to come.
$30.00
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
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
#
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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Renaissance Choral Music
