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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
Renaissance Choral Music
Non classifié
105
Piano & claviers
Piano seul
3
Piano Facile
3
Piano, Voix
2
Orgue
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Guitares
Ukulele
2
Guitare notes et tablatures
1
Mandoline
1
Voix
Chorale SATB
392
Chorale 3 parties
120
Chorale 2 parties
35
Chorale TTBB
29
Chorale
25
Chorale SSATBB
14
Pack Instrumental pour Chorale
13
Chorale SSAATTBB
10
Chorale Unison
10
Chorale SSAA
9
Chorale SATTB
5
Chorale SAATB A Cappella
5
Chorale SSATB
1
Chorale SSATTB
1
+ 9 instrumentations
Retracter
Vents
Quatuor de Clarinettes: 4 clarinettes
7
Flûte, Hautbois, Clarinette, Basson
6
Hautbois, Piano (duo)
6
Clarinette et Piano
6
3 Saxophones (trio)
5
Quintette de Saxophone: 5 saxophones
5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Quatuor de Saxophones: 4 saxophones
5
Saxophone Alto et Piano
4
Flûte à bec Soprano
4
Ensemble de Flûtes
3
Ensemble de Clarinettes
3
Flûte traversière et Piano
3
Quintette de Flûte : 5 flûtes
2
Saxophone Soprano et Piano
2
3 Clarinettes (trio)
2
Trio de Flûtes: 3 flûtes
2
Quatuor de Flûtes : 4 flûtes
1
Saxophone Tenor et Piano
1
Flûte à bec Alto
1
Ensemble de Hautbois
1
Quatuor de Flûtes à bec
1
Flûte, Hautbois, Clarinette (trio)
1
Clarinette
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone Baryton, Piano
1
Cor anglais, Piano
1
+ 22 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
18
2 Euphoniums et 2 Tubas
5
Quatuor de Cuivres
5
Quatuor de cuivres: 4 trombones
4
Tuba et Piano
3
Trompette, Trombone (duo)
3
Trombone et Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Ensemble de Trombones
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Ensemble de Cors
2
Trio de Cuivres
2
Cor et Piano
2
Trombone basse et Piano
1
Trompette
1
Cor anglais, Piano
1
Tuba et Orgue
1
Trompette, Piano
1
+ 13 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
14
Trio à Cordes: violon, alto, violoncelle
7
Alto, Piano
4
Violoncelle, Piano
3
Violon et Piano
2
4 Violoncelles
1
Violoncelle
1
Trio à Cordes: 3 violoncelles
1
Contrebasse (partie séparée)
1
Trio à cordes: 3 violins
1
Harpe
1
+ 6 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
12
Ensemble de cuivres
7
Orchestre d'harmonie
4
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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
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TROMPETTE
TUBA
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Crtitères actifs :
Renaissance Choral Music
Ensemble de Clarinettes
Partitions à imprimer
3 partitions trouvées
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Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
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Ensemble de Clarinettes
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INTERMÉDIAIRE
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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
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
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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
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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Ensemble de Clarinettes
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3...
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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
Monteverdi - The Fifth Book of Madrigals (1605) - 19. Questi vaghi
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Ensemble de Clarinettes
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AVANCÉ
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Classique
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Fifth Book of
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Lyons Music Services
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 5 - SKU: A0.767258 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. 62 pages. Lyons Music...
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Woodwind Ensemble Clarinet - Level 5 - SKU: A0.767258 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. 62 pages. Lyons Music Services #3121649. Published by Lyons Music Services (A0.767258). The Fifth book of madrigals starts to see much more development towards operatic style writing, with more songs being strung together to form scenas and with the addition of accompaniment on instruments. Some of these songs can be written by incorporating the accompaniment into the parts for those instruments which are resting, some will require more than a quintet. Certainly as we get into the next three books, reduction to a quintet will become increasingly more difficult, if not impossible. The final song from book 5 shows quite an advance on the previously (relatively) simple writing. Here we have a full SATB ensemble plus a quite detailed continuo. Questi vaghi (These wandering little birds) also has a more complex structure, being, by itself a scena, split into sections by ritornelli which he calls Sinfonias. At this stage, they are by no means substantial enough to be considered preludes or interludes, but merely dances between the sections of the song. Because of this added complexity, I have had to arrange the piece for a 9-part brass choir. There is some overlap and crossover between the continuo and choral parts to accommodate the different groupings needed for each section. The ritornello sections need to be played more lightly and in a skipping style to add contrast between the 'vocal sections'.
$8.99
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Renaissance Choral Music
