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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
Too High
Non classifié
306
Piano & claviers
Piano seul
67
Piano, Voix
43
Piano Facile
30
Piano, Voix et Guitare
26
2 Pianos, 4 mains
22
Instruments en Do
13
1 Piano, 4 mains
6
Piano (partie séparée)
6
Orgue
5
Orgue et Orchestre
3
Accompagnement Piano
3
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Trio: piano, violon, violoncelle
1
Clavecin
1
+ 9 instrumentations
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Guitares
Guitare notes et tablatures
22
Guitare
19
Guitare (partie séparée)
10
Ligne De Mélodie, (Paroles) et Accords
7
2 Guitares (duo)
1
Paroles et Accords
1
Ukulele
1
Ensemble de guitares
1
Piano, Guitare (duo)
1
Banjo
1
Guitare, Quatuor à cordes
1
+ 6 instrumentations
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Voix
Chorale SATB
92
Chorale 3 parties
35
Voix haute
21
Chorale SSAA
17
Chorale 2 parties
16
Chorale TTBB
15
Chorale Unison
9
Voix Soprano, Piano
4
Voix Tenor, Piano
2
Voix seule
1
Voix basse, Piano
1
Voix moyenne, Piano
1
Voix Alto, Piano
1
Voix duo, Piano
1
+ 9 instrumentations
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Vents
Saxophone (partie séparée)
31
Clarinette
27
Ensemble De Flûte à bec
24
Quintette de Saxophone: 5 saxophones
24
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
23
Flûte traversière
16
Quatuor de Saxophones: 4 saxophones
16
Saxophone Tenor
15
Flûte, Hautbois, Clarinette, Basson
14
Saxophone Alto
14
3 Saxophones (trio)
13
Flûte traversière et Piano
13
Ensemble de Clarinettes
13
Hautbois, Piano (duo)
12
Ensemble de saxophones
11
Clarinette et Piano
10
2 Clarinettes (duo)
10
Ensemble de Flûtes
9
2 Flûtes traversières (duo)
9
Saxophone Alto et Piano
8
Saxophone Tenor et Piano
7
Saxophone Baryton, Piano
7
Hautbois (partie séparée)
6
Hautbois
6
Quatuor de Flûtes : 4 flûtes
6
Saxophone Soprano et Piano
6
2 Saxophones (duo)
5
Saxophone Baryton
5
Saxophone Soprano
5
Quatuor de Clarinettes: 4 clarinettes
5
Flûte, Clarinette (duo)
4
Flûte, Hautbois, Clarinette (trio)
4
Hautbois, Clarinette, Basson (trio d'anches)
4
Quintette de Flûte : 5 flûtes
4
Trio de Flûtes: 3 flûtes
3
Flûte à bec Soprano
3
Flûte, Clarinette et Basson
3
Flûte à bec Alto
3
Flute (partie séparée)
3
Flûte à Bec
2
3 Clarinettes (trio)
2
2 Flûte à bec (duo)
2
Hautbois, Basson (duo)
2
Piccolo
2
2 Hautbois (duo)
2
Cor anglais, Piano
1
Flûte, Violon, Piano
1
Flûte, Hautbois, Basson
1
Clarinette, Violoncelle (duo)
1
2 Saxophones, Piano
1
Cor Anglais
1
Hautbois, Clarinette (duo)
1
2 Clarinettes, Piano
1
Flûte irlandaise
1
Clarinette, Basson (duo)
1
Saxophone
1
+ 51 instrumentations
Retracter
Cuivres
Trombone (partie séparée)
29
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
Trompette (partie séparée)
28
2 Trombones (duo)
24
Quatuor de Cuivres: 2 trompettes, Cor, trombone
23
Quatuor de Cuivres : 2 trompettes, trombone, tuba
20
Trompette
16
Cor
13
Trompette, Piano
13
Trombone
12
Ensemble de Trombones
10
2 Euphoniums (duo)
9
Cor et Piano
9
Trombone et Piano
9
Tuba et Piano
8
Tuba
7
Quatuor de cuivres: 4 trombones
4
Cor (partie séparée)
4
Trompette, Trombone (duo)
4
Ensemble de Trompettes
3
Tuba (partie séparée)
3
Quatuor de cuivres: 4 cors
2
2 Trompettes (duo)
2
3 Trombones (trio)
2
Cor anglais, Piano
1
Cor, Tuba (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
3 Trompettes (trio)
1
2 Tubas (duo)
1
Trombone basse
1
Quatuor de cuivres: 4 trompettes
1
2 Euphoniums et 2 Tubas
1
2 Cors (duo)
1
Cor Anglais
1
4 Tubas
1
Trombone, Cor (duo)
1
3 Tubas (trio)
1
Quatuor de Cuivres
1
Trombone basse et Piano
1
Euphonium, Tuba (duo)
1
+ 35 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
32
Harpe
20
Violoncelle
15
Violoncelle, Piano
15
Alto seul
14
Trio à Cordes: violon, alto, violoncelle
14
Violon et Piano
13
Violon
10
Violon, Violoncelle (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Alto, Piano
8
2 Violoncelles (duo)
8
Contrebasse, Piano (duo)
8
Contrebasse (partie séparée)
8
Violon, Alto (duo)
6
Trio à Cordes: 2 violons, violoncelle
5
2 Violons (duo)
5
Contre Basse
5
Trio à cordes
3
Ensemble d'Altos
3
Ensemble de Violons
3
Alto, Violoncelle (duo)
3
2 Altos (duo)
3
Harpe, Flûte (duo)
2
Violoncelle, Contrebasse (duo)
2
2 Harpes (duo)
2
Trio à cordes: 3 altos
1
Harpe, Voix
1
Alto (partie séparée)
1
Trio à Cordes: 3 violoncelles
1
2 Contrebasses (duo)
1
4 Harpes
1
Trio à cordes: 3 violins
1
Violon (partie séparée)
1
+ 29 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
60
Ensemble Jazz
40
Orchestre à Cordes
23
Orchestre
15
Ensemble de cuivres
9
Cloches
7
Fanfare
7
Orchestre de chambre
7
Batterie (partie séparée)
6
Batterie
4
Ensemble de Percussions
4
Jazz combo
3
Marimba
2
Piano et Orchestre
1
+ 9 instrumentations
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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…
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FLUTE DE PAN
FLUTE TRAVERSI…
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GUITARE LAP ST…
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LIVRES
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MANDOLINE
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Vous avez sélectionné:
Too High
Trompette, Trombone (duo)
Partitions à imprimer
4 partitions trouvées
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1
MARCH OF THE PRIESTS (from The Magic Flute by W. A. Mozart) - for Brass Quartet
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Trompette, Trombone (duo)
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FACILE
#
Classique
#
Wolfgang Amadeus Mozart
#
Ivan Marini
#
MARCH OF THE PRIESTS
#
www.dalsegno.eu
#
SheetMusicPlus
Trombone,Trumpet - Level 2 - SKU: A0.770436 Composed by Wolfgang Amadeus Mozart. Arranged by Ivan Marini. Classical,Multicultural,Opera,Standards,Weddin...
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Trombone,Trumpet - Level 2 - SKU: A0.770436 Composed by Wolfgang Amadeus Mozart. Arranged by Ivan Marini. Classical,Multicultural,Opera,Standards,Wedding,World. 8 pages. Www.dalsegno.eu #5299335. Published by www.dalsegno.eu (A0.770436). Easy and accurate arrangement of this classic extract from The Magic Flute by Wolfgang Amadeus Mozart.Ideal as a solemn overture for every concert or as a entrance for weddings, but fits in really every serious context.Playable during concerts at school too, due to the easy grade despite the closeness to the original. An ideal approach for the younger players to the polite and light style of Mozart.Complete set with score and parts: Trumpet 1 (up to high F), Trumpet 2, Trombone 1 (up to high Eb), F Horn (instead of Trombone 1), Trombone 2. Ideal for larger ensembles too.Duration: approx. 3 mins., 8 pages. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
$2.99
Jesu, Joy of Man’s Desiring for Trumpet and Trombone by Bach BWV 147
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Trompette, Trombone (duo)
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FACILE
#
Classique
#
Johann Sebastian Bach
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れある やすけ
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Jesu, Joy of Man’s Desir
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Simple Chamber「単純な室内楽」
#
SheetMusicPlus
B-Flat Trumpet,Instrumental Duet,Trombone - Level 2 - SKU: A0.1422327 Composed by Johann Sebastian Bach. Arranged by れある やすけ. Baroque,Chambe...
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B-Flat Trumpet,Instrumental Duet,Trombone - Level 2 - SKU: A0.1422327 Composed by Johann Sebastian Bach. Arranged by れある やすけ. Baroque,Chamber,Christian,Easter. 6 pages. Simple Chamber「単純な室内楽」 #1003663. Published by Simple Chamber「単純な室内楽」 (A0.1422327). This is an arrangement of Bach’s piece, Jesu, Joy of Man’s Desiring BWV 147, adapted for a trumpet and trombone duet. This arrangement with chord symbols is a pedagogical tool for teachers and a learning opportunity for music students. In this arrangement, the complexity of the original composition has been carefully simplified, making it accessible and attractive to beginner musicians. Each part, from the highest to the lowest, presents a gradation of difficulty, allowing musicians to develop their skills effectively. This arrangement is useful for teachers, as it offers a pedagogical tool to introduce students to chamber music and Bach’s works. Even simplified, the arrangement maintains the beauty of Bach’s original composition. This arrangement is an excellent choice for music students, teachers, and Johann Sebastian Bach lovers.
$5.99
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trompette, Trombone (duo)
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FACILE
#
Giovanni Gabrieli
#
James M
#
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
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trompette, Trombone (duo)
#
FACILE
#
Giovanni Gabrieli
#
James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
#
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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