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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
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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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SYNTHETISEUR
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UKULELE
VIBRAPHONE
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VIOLONCELLE
XYLOPHONE
THIRD Baroque
Non classifié
229
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55
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18
Piano Facile
14
Orgue
6
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5
2 Pianos, 4 mains
3
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
Piano, Voix et Guitare
1
1 Piano, 4 mains
1
+ 5 instrumentations
Retracter
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Guitare
14
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7
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4 Guitares (Quatuor)
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+ 4 instrumentations
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Chorale SATB
13
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29
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16
Quatuor de Saxophones: 4 saxophones
16
2 Saxophones (duo)
15
3 Clarinettes (trio)
15
Clarinette et Piano
14
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
12
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12
Flûte, Hautbois, Basson
11
Quatuor de Clarinettes: 4 clarinettes
11
Flûte, Clarinette et Basson
10
Flûte traversière et Piano
9
Saxophone Alto et Piano
9
2 Clarinettes, Basson
8
Ensemble de Clarinettes
8
Saxophone Tenor et Piano
8
2 Flûtes traversières (duo)
7
Trio de Flûtes: 3 flûtes
7
Quintette de Clarinettes: 5 clarinettes
6
Hautbois, Piano (duo)
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Quintette de Flûte : 5 flûtes
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Saxophone Baryton, Piano
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Ensemble de Flûtes
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Hautbois, Clarinette, Basson (trio d'anches)
5
2 Clarinettes (duo)
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4
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Cor anglais, Piano
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2 Flûte à bec (duo)
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Flûte, Clarinette (duo)
3
Clarinette Basse, Piano
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Flûte traversière
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Saxophone Tenor
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Hautbois, Harpe
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3 Flûtes à bec (trio)
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Ensemble de saxophones
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Flûte, Violoncelle
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Clarinette
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Clarinette et Alto
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Flûte à bec Tenor
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Flûte et Trio à cordes
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Saxophone
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Saxophone Alto
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Piccolo, Piano
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Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
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Quatuor de Flûtes : 4 flûtes
1
Ensemble de Hautbois
1
Ensemble De Flûte à bec
1
Saxophone (partie séparée)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
+ 54 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Trombone et Piano
10
Trompette, Piano
9
Trompette
7
Quatuor de cuivres: 4 trombones
6
Trompette, Trombone (duo)
6
Cor et Piano
6
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
2 Trompettes (duo)
5
Tuba et Piano
4
Trompette, Cor (duo)
4
2 Trombones (duo)
4
Cor anglais, Piano
4
Ensemble de Cors
3
3 Tubas (trio)
3
Euphonium, Tuba (duo)
3
2 Cors (duo)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Quatuor de cuivres: 4 cors
3
Euphonium, Piano (duo)
2
3 Cors (trio)
2
3 Trombones (trio)
2
Quatuor de cuivres: 4 trompettes
2
Ensemble de Trompettes
2
Tuba et Orgue
2
Ensemble de Trombones
1
Cor et Harpe
1
2 Euphoniums et 2 Tubas
1
Tuba
1
4 Tubas
1
Trompette, Harpe
1
Trombone
1
Trombone, Orgue
1
Cor
1
2 Tubas (duo)
1
Trombone, Cor (duo)
1
+ 31 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
23
Violon
22
Violon et Piano
17
Trio à Cordes: violon, alto, violoncelle
10
Trio à cordes: 3 violins
10
Alto, Piano
9
Violon, Alto (duo)
8
Trio à Cordes: 2 violons, violoncelle
8
Violon, Violoncelle (duo)
6
Violoncelle
6
Violoncelle, Piano
6
2 Harpes (duo)
5
Alto seul
5
Harpe, Flûte (duo)
4
2 Violons (duo)
4
2 Altos (duo)
4
Harpe
3
Contrebasse, Piano (duo)
3
Trio à Cordes: 2 violons, alto
3
Trio à Cordes: 3 violoncelles
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
2 Violoncelles (duo)
2
Alto, Violoncelle (duo)
2
Trio à cordes: 3 altos
2
Quatuor à cordes : 4 altos
2
Quatuor à cordes: 4 violons
1
Violoncelle, Contrebasse (duo)
1
Flûte, Contrebasse (duo)
1
Violon, Violoncelle, Clarinette
1
Harpe, Violoncelle (duo)
1
Violon (partie séparée)
1
Violoncelle (partie séparée)
1
Contre Basse
1
Alto et Harpe
1
+ 29 instrumentations
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Orchestre d'harmonie
34
Orchestre à Cordes
29
Ensemble de cuivres
29
Orchestre
6
Orchestre de chambre
4
Marimba
2
Xylophone, Piano
1
Vibraphone
1
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THIRD Baroque
Trompette, Trombone (duo)
Partitions à imprimer
6 partitions trouvées
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1
Air on the G String by Bach for Trumpet and Trombone
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Trompette, Trombone (duo)
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DÉBUTANT
#
Classique
#
Johann Sebastian Bach
#
Ander
#
Air on the G String by Bach fo
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Woods Only, Arrangements
#
SheetMusicPlus
B-Flat Trumpet,Instrumental Duet,Trombone - Level 1 - SKU: A0.1125291 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sac...
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B-Flat Trumpet,Instrumental Duet,Trombone - Level 1 - SKU: A0.1125291 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred,Wedding. 5 pages. Woods Only, Arrangements #726074. Published by Woods Only, Arrangements (A0.1125291). This easy arrangement for trumpet and Trombone duet was written to be uncomplicated to perform and understand the structure of the piece. It can be freely played by beginning students, because of the ease imposed on the piece; however, this does not prevent it from being played by professionals and music teachers. It is also ideal for academic recitals, student method and ceremonies that are arranged in the same way as the piece contains. The original piece is part of Johann Sebastian Bach's Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called Air on the G String dates from one of these latter employments. In the service of the Prince of Cöthen, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the Air on the G String. This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument.
$3.99
Lo! How a Rose E'er Blooming (Brass Duet)
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Trompette, Trombone (duo)
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INTERMÉDIAIRE/AVANCÉ
#
Traditional
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Roger Wallace
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Lo! How a Rose E'er Blooming
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Roger Wallace
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SheetMusicPlus
Instrumental Duet,Trombone,Trumpet - Level 4 - SKU: A0.586613 Composed by Traditional. Arranged by Roger Wallace. Baroque,Christmas,Sacred. 24 pages. Ro...
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Instrumental Duet,Trombone,Trumpet - Level 4 - SKU: A0.586613 Composed by Traditional. Arranged by Roger Wallace. Baroque,Christmas,Sacred. 24 pages. Roger Wallace #195912. Published by Roger Wallace (A0.586613). Christmas Duet with Multiple Part Options. The melody of this hymn (in chorale style) is introduced in the first verse. The second verse includes a counter melody by the second part. The third verse features an antiphonal line by the first part accompanying the melody played by the second part. Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation. The audio sample represents a Brass Duet (Trumpet, Trombone).This arrangement is also available for many other ensembles and soloists. Look for more arrangements by Roger Wallace.
$3.99
Arioso by Bach for Trumpet and Trombone
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Trompette, Trombone (duo)
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DÉBUTANT
#
Classique
#
Johann Sebastian Bach
#
Ander
#
Arioso by Bach for Trumpet and
#
Woods Only, Arrangements
#
SheetMusicPlus
B-Flat Trumpet,Instrumental Duet,Trombone - Level 1 - SKU: A0.1125339 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sac...
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B-Flat Trumpet,Instrumental Duet,Trombone - Level 1 - SKU: A0.1125339 Composed by Johann Sebastian Bach. Arranged by Ander. Baroque,Christmas,Easter,Sacred,Wedding. 5 pages. Woods Only, Arrangements #726124. Published by Woods Only, Arrangements (A0.1125339). This easy arrangement for trumpet and trombone duet was adapted to be simple to perform and understand the structure of the original work for various levels of musical knowledge. It can be played freely by beginning students due to the ease imposed on the piece; however, this does not preclude it from being played by professionals and music teachers. It is also ideal for academic recitals, weddings, student method and ceremonies that are arranged in the same way as the piece contains. The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach's favorite librettists. of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part.
$3.99
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
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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