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AUTOHARPE
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BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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DEEJAY
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FLUTE TRAVERSI…
FORMATION MUSI…
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HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
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PIANO
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TROMPETTE
TUBA
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VIOLONCELLE
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The Other Wise Man - Percussion
Non classifié
273
Piano & claviers
Piano seul
47
Piano, Voix
12
2 Pianos, 4 mains
7
Orgue
6
Piano Facile
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Piano, Voix et Guitare
2
1 Piano, 4 mains
1
Instruments en Do
1
Piano Trio: piano, violon, violoncelle
1
Accompagnement Piano
1
Piano (partie séparée)
1
+ 7 instrumentations
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Guitares
Ligne De Mélodie, (Paroles) et Accords
15
Guitare notes et tablatures
4
Guitare
2
4 Guitares (Quatuor)
2
Guitare (partie séparée)
2
Voix
Chorale SATB
26
Pack Instrumental pour Chorale
13
Chorale 3 parties
10
Chorale 2 parties
9
Chorale TTBB
6
Chorale SSAA
3
Voix duo, Piano
2
Voix Mezzo-Soprano, Piano
1
+ 3 instrumentations
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Vents
Flûte traversière et Piano
27
Clarinette et Piano
20
Saxophone Soprano et Piano
18
Saxophone Tenor et Piano
17
Saxophone Baryton, Piano
15
Hautbois, Piano (duo)
14
Saxophone Alto et Piano
13
Clarinette Basse, Piano
12
Cor anglais, Piano
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Ensemble de saxophones
6
Ensemble de Clarinettes
6
Clarinette
6
Saxophone (partie séparée)
5
Flûte, Hautbois, Clarinette, Basson
5
Ensemble de Flûtes
4
Quintette de Saxophone: 5 saxophones
4
Quatuor de Clarinettes: 4 clarinettes
3
Quatuor de Saxophones: 4 saxophones
3
2 Flûtes traversières (duo)
3
Quintette de Flûte : 5 flûtes
2
3 Saxophones (trio)
2
Flûte traversière
2
Quatuor de Flûtes : 4 flûtes
1
2 Saxophones (duo)
1
Flûte, Clarinette (duo)
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette, Harpe (duo)
1
2 Clarinettes, Piano
1
2 Flûte à bec (duo)
1
Flûte, Hautbois, Basson
1
3 Clarinettes (trio)
1
Quintette de Clarinettes: 5 clarinettes
1
Hautbois, Flûte
1
Clarinette, Alto et Piano (trio)
1
Flûte, Violon et Violoncelle
1
Flûte, alto et harpe
1
Flûte, trombone et piano
1
Clarinette, Violon (duo)
1
Flûte, Basson et Piano
1
Flûte, Violoncelle
1
Cor anglais et Harpe (duo)
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Alto et Piano
1
Piccolo, Piano
1
+ 40 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
22
Trombone et Piano
19
Euphonium, Piano (duo)
17
Cor et Piano
16
Quatuor de Cuivres
13
Cor anglais, Piano
11
Ensemble de Trombones
6
Trompette, Piano
6
Trompette
6
Trombone (partie séparée)
5
Ensemble de Trompettes
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trompette (partie séparée)
3
Ensemble de Cors
3
Trompette, Trombone (duo)
3
Tuba et Piano
2
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Quatuor de cuivres: 4 trombones
1
Cor anglais et Harpe (duo)
1
Trio de Cuivres
1
+ 16 instrumentations
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Cordes
Alto, Piano
22
Violon, Violoncelle (duo)
17
Quatuor à cordes: 2 violons, alto, violoncelle
16
Violon et Piano
13
Violoncelle, Piano
11
Trio à Cordes: violon, alto, violoncelle
7
Violoncelle
4
Violon
4
Harpe
3
Ensemble de Violons
2
Harpe, Flûte (duo)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Trio à Cordes: 3 violoncelles
1
Contrebasse (partie séparée)
1
Quatuor à cordes: 4 violons
1
Alto (partie séparée)
1
4 Violoncelles
1
Violon (partie séparée)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Piano Trio: Violon, Alto, Piano
1
Ensemble d'Altos
1
Alto, Guitare (duo)
1
Trio à cordes: 3 violins
1
+ 18 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
7
Ensemble de cuivres
6
Orchestre à Cordes
6
Orchestre
4
Orchestre de chambre
3
Cloches
2
Ensemble Jazz
2
Batterie (partie séparée)
1
+ 3 instrumentations
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Autres
Formation musicale - Solfège
1
Instruments
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FLUTE A BEC
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LUTH, THEOR…
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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
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
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Vous avez sélectionné:
The Other Wise Man - Percussion
Trompette, Trombone (duo)
Partitions à imprimer
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In the Bleak Midwinter (Brass Trio): Two Trumpets and Trombone
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Trompette, Trombone (duo)
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INTERMÉDIAIRE
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Noël
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Gustav Holst, Christina Rosset
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John A
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In the Bleak Midwinter
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John A. Dempsey
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SheetMusicPlus
Trombone,Trumpet - Level 3 - SKU: A0.1169811 Composed by Gustav Holst, Christina Rossetti. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacr...
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Trombone,Trumpet - Level 3 - SKU: A0.1169811 Composed by Gustav Holst, Christina Rossetti. Arranged by John A. Dempsey. Christian,Christmas,Holiday,Sacred,Traditional. 15 pages. John A. Dempsey #770175. Published by John A. Dempsey (A0.1169811). A wintry landscape, a miracle, a wondrous season: all these are evoked in this traditional English Christmas carol that's also popular among Celtic music fans.  This snowy, atmospheric music is arranged as a brass trio for two Bb trumpets and trombone.  Recommended for Christmas concerts and holiday recitals as well as traditional Christmas church services and other seasonal worship events, including Christmas plays, pageants and programs.  Suggested worship uses: a prelude, postlude, an offertory, interlude, Christmas play overture, silent prayer accompaniment and special music.  11 pages of music (that includes the score and separate two-page parts for trumpet 1, trumpet 2 and trombone).  Concert Key: F majorWhat can I give Him, poor as I am? If I were a shepherd, I would give a lamb. If I were a wise man, I would do my part But what can I give Him?  Give Him my heart.
$9.99
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
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
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The Other Wise Man - Percussion
