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--INSTRUMENTS--
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CHORALE - CHAN…
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79
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71
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Orgue
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2 Pianos, 4 mains
10
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Piano Trio: piano, violon, violoncelle
4
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4
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Piano grosses notes
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1 Piano, 6 mains
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Guitare
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Ukulele
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Basse electrique
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4 Guitares (Quatuor)
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Dulcimer
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116
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18
Voix duo, Piano
15
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7
Voix haute
5
Voix Baryton, Piano
4
Voix seule
4
Voix duo
3
Voix basse, Piano
2
Voix Soprano
1
Voix Tenor
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Chorale SSATB
1
Voix moyenne, Piano
1
Voix Tenor, Piano
1
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
43
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38
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32
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31
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29
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27
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24
Saxophone Alto et Piano
23
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20
Hautbois, Piano (duo)
19
Saxophone Tenor et Piano
18
Flûte traversière
17
2 Saxophones (duo)
16
Ensemble de Clarinettes
16
Clarinette
15
Ensemble de Flûtes
14
Saxophone (partie séparée)
13
Saxophone Alto
12
Saxophone Baryton, Piano
12
Saxophone Soprano et Piano
12
Cor anglais, Piano
11
Saxophone Tenor
11
Saxophone, Clarinette (duo)
5
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5
3 Saxophones (trio)
5
2 Flûte à bec (duo)
5
Quintette de Flûte : 5 flûtes
5
Flûte et Guitare
5
Hautbois
4
Clarinette, Violon (duo)
4
Clarinette, Trompette (duo)
4
Saxophone Soprano
4
Hautbois (partie séparée)
4
Clarinette Basse, Piano
4
2 Flûtes traversières (duo)
4
2 Clarinettes (duo)
4
Flûte, Clarinette (duo)
3
Flûte, Hautbois, Clarinette (trio)
3
Hautbois, Clarinette (duo)
3
3 Flûtes à bec (trio)
2
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Clarinette et Alto
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Saxophone Baryton
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2
Flûte, Violon
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Flûte à bec Soprano, Piano
1
Clarinette, Basson (duo)
1
5 Flûtes à bec
1
Clarinette, Guitare (duo)
1
Trio de Flûtes: 3 flûtes
1
Flute, harpe et violon
1
Ensemble De Flûte à bec
1
Piccolo, Piano
1
Flûte, Hautbois (duo)
1
Saxophone et Orgue
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Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à bec Alto, Piano
1
Clarinette, Alto et Piano (trio)
1
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55
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47
Quatuor de cuivres: 4 trombones
44
Quatuor de Cuivres: 2 trompettes, Cor, trombone
29
Trompette
23
Trombone et Piano
21
Cor et Piano
17
Ensemble de Trompettes
14
Trompette, Piano
14
Ensemble de Trombones
11
Trombone
11
Euphonium, Piano (duo)
11
Cor anglais, Piano
11
Cor
9
Tuba
9
Tuba et Piano
7
Trompette (partie séparée)
6
Trombone (partie séparée)
6
Trompette, Trombone (duo)
5
Quatuor de Cuivres
5
2 Trompettes (duo)
3
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3
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2
2 Trombones (duo)
2
Bass Clef Instruments
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Trombone basse et Piano
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3 Trombones (trio)
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211
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105
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68
Violoncelle
50
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46
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46
Violon
43
Alto, Piano
26
Violoncelle, Piano
22
Violon, Alto (duo)
22
2 Violoncelles (duo)
17
Alto seul
11
Harpe
11
Quatuor à cordes: 4 violons
10
Contre Basse
9
2 Altos (duo)
6
2 Violons (duo)
6
Trio à cordes: 3 altos
6
Contrebasse, Piano (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
5
4 Violoncelles
5
Ensemble de Violons
4
Ensemble d'Altos
4
Alto (partie séparée)
3
Violon, Guitare (duo)
2
Trio à Cordes: 2 violons, alto
2
Trio à Cordes: 3 violoncelles
2
Contrebasse (partie séparée)
2
Quatuor à cordes : 4 altos
2
Violoncelle , Guitare (duo)
2
Alto et Harpe
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Harpe, Trombone (duo)
1
Alto, Violoncelle (duo)
1
Violon, Basson (duo)
1
Ensemble de Violoncelles
1
Harpe et Piano
1
Trio à cordes: 3 violins
1
Harpe, Violoncelle (duo)
1
Violoncelle (partie séparée)
1
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113
Orchestre d'harmonie
108
Orchestre
50
Batterie
33
Ensemble de cuivres
26
Orchestre de chambre
24
Ensemble Jazz
12
Fanfare
5
Cloches
4
Ensemble de Percussions
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Jazz combo
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Quintette de Cuivres: autres combinaisons
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Piano et Orchestre
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--INSTRUMENTS--
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5 partitions trouvées
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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
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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
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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
Stompin' Jam - Trumpet Trombone Duet
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Trompette, Trombone (duo)
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INTERMÉDIAIRE/AVANCÉ
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Eddie Lewis
Jazz out wi
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Eddie Lewis
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Stompin' Jam - Trumpet Trombon
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Tiger Music
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - SKU: A0.750372 Composed by Eddie Lewis. Blues,Jazz,Multicultural,World. Score and parts...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - SKU: A0.750372 Composed by Eddie Lewis. Blues,Jazz,Multicultural,World. Score and parts. 4 pages. Tiger Music #6624793. Published by Tiger Music (A0.750372). Stompin’ Jam Trumpet and Trombone Duet MTR 0255 4143 By Eddie Lewis Jazz out with your trumpet or trombone friend playing this cool sounding duet. We’re calling it a jam because both players get to play a solo over the repeated accompaniment line. First the trombone player jams, then the trumpet. Here is the first of what I hope to be many, many duets made possible by my Just Friends video series. In this series I am inviting one of my musician friends over to make music, do an interview and maybe follow it all up with a Q and A session. I wrote this duet for one of those videos and we had a good time recording it. I enjoy writing music for the people I work with. Does trumpet and trombone seem like an odd duet to write? Well, you may not believe this, but sometimes trumpet players have trombone player friends. :-) Thus, the purpose of the duet. Trumpet Pro Skill Level The highest note in the trumpet part is B natural. The rhythms are also just a little complicated. That’s why we put this at the Trumpet Pro level. We recorded it the same day when I wrote it, so it’s not like I was working on this for days. But there was a little bit of awkwardness in the trumpet part. Practice Recommendations My number one suggestion for practicing this piece is to learn the rhythms first. Notice the anticipation of the third beat. This happens in almost every measure. This rhythm grew on me during my trip to South Africa in 2016 when I performed with the Afrika Mkhize big band. There were lots of songs at the jazz festival in Grahamstown that had that twelve-eight groove with the anticipated third beat. I am NOT saying that this composition is South African. I would not presume to know how to write that kind of music. What I am saying is that the music in South Africa has influenced my writing. In much the same way as playing in all those salsa bands in the 90’s did. So, recognize that the rhythms in this composition are very important and learn those first. The rest of it should fall into place after that. About the Trumpet Pro Skill Level The Trumpet Pro skill level is the fifth skill level in our system. This skill level has exercises and music up to high C. There are many other considerations in this skill level but that is the most obvious. To find more music for this specific skill level, search our other publications for the word Trumpet Pro in the title or descriptions. We publish books and compositions for students at the Trumpet Pro level that we believe you or your students will truly enjoy.
$4.99
18 Easy Gospel Duets Vol.1 for Trumpet and Trombone
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Trompette, Trombone (duo)
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FACILE
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Musique Sacrée
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Gospel Spirituel
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Various
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David McKeown
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18 Easy Gospel Duets Vol.1 for
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David McKeown
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - SKU: A0.590950 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise ...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 2 - SKU: A0.590950 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred,Spiritual. Score and parts. 25 pages. David McKeown #6259075. Published by David McKeown (A0.590950). 18 Easy Gospel Duets Vol.1 for Trumpet and Trombone is a beautiful collection of your best-loved Gospel Hymns and Spirituals. They are arranged simply in the most suitable range and keys for one Trumpet and one Trombone.The standard is early intermediate to intermediate. Players with a year or two’s experience will enjoy playing these duets, with plenty of interest in both parts and imaginative arrangements. These duets are ideal for use in concerts or worship, formal or informal. Click on the link above to hear samples of these duets performed on YouTube, performed on Clarinet.The hymns are in alphabetical order and are as follows· Abide with Me, · Amazing Grace, · Blessed Assurance, · Deep River, · Down by the Riverside, · Go Down Moses, · Go Tell It on the Mountain, · He’s Got the Whole World in HIs Hands, · Higher Ground, · Jesus on the Mainline, · Joshua Fought the Battle of Jericho, · Just a Closer Walk with Thee, · Just as I Am, · Just Over in the Glory Land, · Kumbaya My Lord, · Love Lifted Me, · Nobody Knows the Trouble I’ve Seen, · Nothing but the Blood of Jesus. If you like these duets, then there are another eighteen just like them in Volume 2. To find them copy and paste 18 Easy Gospel Duets Vol.2 for Trumpet and Trombone in the Search Bar above. There are also longer and more challenging arrangements available in 10 Gospel Duets for Trumpet and Trombone.
$9.99
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