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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
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TUBA
UKULELE
VIBRAPHONE
VIOLON
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82
Piano & claviers
Piano seul
49
2 Pianos, 4 mains
18
Piano, Voix
12
Piano, Voix et Guitare
10
Orgue
9
Piano Facile
4
1 Piano, 4 mains
3
Instruments en Do
3
+ 3 instrumentations
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Guitares
Guitare
10
Guitare notes et tablatures
10
2 Guitares (duo)
1
Dulcimer
1
Voix
Chorale SATB
15
Voix Alto, Piano
10
Chorale TTBB
4
Chorale 2 parties
2
Chorale 3 parties
2
Chorale SSAA
1
Voix seule
1
+ 2 instrumentations
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Vents
2 Flûtes traversières, Piano
25
2 Saxophones (duo)
12
Saxophone, Clarinette (duo)
9
2 Clarinettes (duo)
7
2 Flûtes traversières (duo)
6
Clarinette
5
Clarinette, Trompette (duo)
4
Flûte, Violon
3
Hautbois, Clarinette (duo)
3
Hautbois, Basson (duo)
3
Flûte, Clarinette (duo)
3
Flûte, Saxophone (duo)
3
Clarinette et Alto
3
Saxophone Soprano et Piano
3
Clarinette, Violon (duo)
3
Saxophone Alto et Piano
3
Quatuor de Flûtes : 4 flûtes
2
Quatuor de Clarinettes: 4 clarinettes
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Ensemble de Flûtes
2
Ensemble de Clarinettes
2
Hautbois, Piano (duo)
2
Flûte, Hautbois, Clarinette, Basson
2
Flûte, Alto (duo)
2
Flûte traversière et Piano
2
Flute (partie séparée)
2
Hautbois, Flûte
2
Flûte, Trompette (duo)
2
Hautbois (partie séparée)
2
2 Hautbois (duo)
2
Flûte et Guitare
2
Flûte, Clarinette, Piano (trio)
2
Cor anglais, Piano
1
Saxophone Baryton, Piano
1
Flûte traversière
1
Flûte à Bec
1
Quintette de Saxophone: 5 saxophones
1
Clarinette, Guitare (duo)
1
Saxophone Tenor et Piano
1
Clarinette et Piano
1
Clarinette Basse, Piano
1
Flûte, Violon, Piano
1
Quintette de Flûte : 5 flûtes
1
+ 38 instrumentations
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Cuivres
Trompette
8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
5
Trompette, Saxophone (duo)
4
Trompette, Trombone (duo)
4
2 Trompettes (duo)
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Trombones (duo)
2
Cor anglais, Piano
1
Euphonium, Piano (duo)
1
Trombone et Piano
1
Cor
1
Ensemble de Trombones
1
3 Trombones (trio)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
+ 9 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
10
Violon, Violoncelle (duo)
10
2 Violons (duo)
5
Violon et Piano
5
Trio à Cordes: violon, alto, violoncelle
4
Violon, Alto (duo)
4
Alto, Piano
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Violoncelle
2
Violon
2
2 Altos (duo)
2
2 Violoncelles (duo)
2
Harpe
2
Trio à Cordes: 2 violons, violoncelle
2
Violon, Clarinette, Piano (trio)
1
Trio à cordes: 3 violins
1
Contre Basse
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 altos
1
Alto seul
1
+ 15 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
11
Orchestre
8
Orchestre à Cordes
3
Ensemble de cuivres
3
Ensemble Jazz
3
Orchestre de chambre
3
+ 1 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…
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
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VIBRAPHONE
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2 partitions trouvées
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Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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Ensemble de Clarinettes
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3...
(+)
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. Duration: ca. 3:00. Innovations First 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 Works Gabrieli 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 Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more 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 which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, 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 by 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. Homophony Hence, 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 Clarinet Choir
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Ensemble de Clarinettes
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
(+)
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. Duration: 3:45 at half-note = 86. Innovations First 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 Works Gabrieli 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 Music Above 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 Works Finally, 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. Homophony Hence, 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. Â
$47.95
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