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CHORALE - CHAN…
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Piano & claviers
Piano seul
438
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76
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70
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38
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32
Orgue
25
1 Piano, 4 mains
15
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8
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2
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2
2 Pianos, 4 mains
1
2 Pianos, 8 mains
1
Orgue, Piano (duo)
1
Accompagnement Piano
1
+ 9 instrumentations
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35
Guitare notes et tablatures
23
Ligne De Mélodie, (Paroles) et Accords
11
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10
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6
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3
2 Guitares (duo)
2
4 Guitares (Quatuor)
1
Piano, Guitare (duo)
1
Dulcimer
1
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Chorale SATB
91
Chorale 3 parties
28
Chorale SSAA
26
Chorale TTBB
20
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9
Chorale 2 parties
9
Voix haute
6
Chorale
6
Voix Soprano, Piano
5
Pack Instrumental pour Chorale
5
Chorale Unison
4
Voix duo, Piano
2
Voix Alto, Piano
2
Chorale SSAATTBB
1
Voix moyenne, Piano
1
+ 10 instrumentations
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Vents
Flûte traversière et Piano
40
Clarinette et Piano
37
Flûte traversière
33
Saxophone Alto et Piano
33
Saxophone Alto
28
Clarinette
26
Hautbois, Piano (duo)
26
Hautbois (partie séparée)
24
Quatuor de Saxophones: 4 saxophones
22
Saxophone (partie séparée)
21
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
20
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18
Saxophone Tenor
16
Saxophone Tenor et Piano
15
Ensemble de Clarinettes
11
Saxophone Soprano et Piano
9
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9
Clarinette (partie séparée)
8
Flûte, Hautbois, Clarinette, Basson
8
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8
3 Saxophones (trio)
8
3 Clarinettes (trio)
8
Ensemble de Flûtes
8
2 Saxophones (duo)
6
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6
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4
2 Flûtes traversières (duo)
4
Flûte et Guitare
3
Clarinette, Guitare (duo)
3
Flûte, Clarinette et Basson
3
2 Clarinettes (duo)
3
Flûte, Clarinette, Piano (trio)
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Quintette de Saxophone: 5 saxophones
2
Cor Anglais
2
2 Flûtes traversières, Piano
2
Instruments en Mib
2
Flûte, Violon et Violoncelle
2
Quintette de Clarinettes: 5 clarinettes
2
Clarinette, trompette et piano
2
Flûte, Violoncelle, Piano (trio)
2
Flûte, Hautbois (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Cor anglais, Piano
1
Clarinette Basse, Piano
1
Flûte, Violoncelle
1
Saxophone Baryton, Piano
1
Flûte, Alto et Piano
1
Clarinette, Violon (duo)
1
Saxophone Soprano
1
2 Clarinettes, Piano
1
Hautbois
1
Flûte, trombone et piano
1
Ensemble De Flûte à bec
1
3 Flûtes à bec (trio)
1
Flûte, Violon, Violoncelle et Piano
1
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Trompette
28
Trompette, Piano
25
Cor et Piano
25
Trombone et Piano
24
Cor
21
Trombone
20
Trompette (partie séparée)
18
Tuba et Piano
16
Trombone (partie séparée)
15
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
15
Tuba
13
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Cor (partie séparée)
4
Quatuor de cuivres: 4 trombones
4
Trompette, Trombone (duo)
3
Quatuor de Cuivres
3
Quatuor de cuivres: 4 cors
3
2 Trombones (duo)
2
Instruments en Sib
2
Cor Anglais
2
3 Trombones (trio)
2
Bass Clef Instruments
2
Euphonium, Piano (duo)
2
Quatuor de cuivres: 4 trompettes
2
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2
Cor anglais, Piano
1
4 Tubas
1
2 Trompettes (duo)
1
Trompette, Violoncelle et Piano
1
Ensemble de Trombones
1
3 Trompettes (trio)
1
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
91
Violon et Piano
51
Violon
39
Alto, Piano
37
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31
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29
Alto seul
21
Trio à Cordes: violon, alto, violoncelle
21
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15
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15
Harpe
11
Alto (partie séparée)
8
Violon, Violoncelle (duo)
7
2 Violons (duo)
7
4 Violoncelles
5
Quatuor à cordes: 4 violons
3
2 Violoncelles (duo)
3
Violon, Guitare (duo)
3
Trio à cordes: 3 violins
3
Contrebasse (partie séparée)
3
Trio à Cordes: 2 violons, violoncelle
3
Trio à Cordes: 3 violoncelles
3
Quatuor à cordes : 4 altos
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Harpe, Voix
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violoncelle , Guitare (duo)
1
2 Altos (duo)
1
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39
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10
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8
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6
Jazz combo
4
Cloches
2
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1
2 Marimbas
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Xylophone
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Ensemble de Percussions
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Piano et Orchestre
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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…
(+)
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
44.21 €
#
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
#
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
44.21 €
#
Trompette, Trombone (duo)
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
#
jmsgu3
#
SheetMusicPlus
He Arose (Brass Trio): Two Trumpets and Trombone
Trompette, Trombone (duo)
Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1390224 Composed by Robert Lo…
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Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1390224 Composed by Robert Lowry, Ignaz Jan Paderewski. Arranged by John A. Dempsey. Christian,Easter,Holiday,Sacred,Traditional. 16 pages. John A. Dempsey #973739. Published by John A. Dempsey (A0.1390224). Also known as Low in the Grave He Lay and Hallelujah, Christ Arose, this brass trio for two Bb trumpets and trombone celebrates Easter with a musical sojourn that's varied, sparkling and alive with both the solace and elation of the season. Â This hymn arrangement, complete with mood and tempo changes, is filled with moments of quiet beauty, prayerful reflection and joyful thanksgiving. Â The serene incidental music is from a Paderewski nocturne. Â Recommended for traditional church services and other worship events, including Good Friday services and Easter sunrise worship, as a prelude, postlude, an offertory, interlude and special music. 12 pages of music (that includes separate two-page parts for trumpet 1, trumpet 2 and trombone). Â Concert Key: F major.
$9.99
9.21 €
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Trompette, Trombone (duo)
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Robert Lowry, Ignaz Jan Paderewski
#
John A
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He Arose
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John A. Dempsey
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SheetMusicPlus
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