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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
Ain Renaissance
Non classifié
107
Piano & claviers
Piano, Voix
45
Piano seul
43
Orgue
6
Instruments en Do
2
Guitares
Guitare
17
Ukulele
6
Guitare notes et tablatures
4
4 Guitares (Quatuor)
2
Ensemble de guitares
1
2 Guitares (duo)
1
Mandoline
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
20
Chorale 3 parties
6
Voix haute
1
Chorale TTBB
1
Vents
Flûte et Guitare
17
Flûte, Hautbois, Clarinette, Basson
16
Quatuor de Clarinettes: 4 clarinettes
13
Ensemble de Clarinettes
10
Ensemble de Flûtes
7
Clarinette, Guitare (duo)
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Saxophone et Guitare
5
Cor anglais, Guitare (duo)
5
Flûte traversière et Piano
4
Quatuor de Saxophones: 4 saxophones
4
Ensemble de saxophones
4
Quintette de Saxophone: 5 saxophones
3
Quatuor de Flûtes à bec
3
Quintette de Clarinettes: 5 clarinettes
3
Quintette de Flûte : 5 flûtes
3
Quatuor de Flûtes : 4 flûtes
3
Clarinette
2
Clarinette, Harpe (duo)
2
Hautbois, Guitare (duo)
2
3 Clarinettes (trio)
2
Flûte traversière
2
Flûte à bec Soprano, Piano
1
Hautbois, Basson (duo)
1
Flûte à Bec
1
3 Flûtes à bec (trio)
1
Flûte à bec Alto, Piano
1
Flûte, Clarinette (duo)
1
Trio de Flûtes: 3 flûtes
1
Flûte à bec, Harpe
1
Flûte à bec Alto
1
2 Flûte à bec (duo)
1
Cor anglais et Harpe (duo)
1
Cor anglais, Piano
1
2 Saxophones (duo)
1
Clarinette et Piano
1
+ 31 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
18
Quatuor de Cuivres : 2 trompettes, trombone, tuba
13
Ensemble de Trompettes
5
Cor anglais, Guitare (duo)
5
Trombone et Piano
2
Trompette, Piano
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Ensemble de Trombones
2
Quatuor de Cuivres
2
Cor et Piano
1
2 Trombones (duo)
1
Ensemble de Cors
1
2 Euphoniums et 2 Tubas
1
Cor anglais et Harpe (duo)
1
Cor anglais, Piano
1
Quatuor de cuivres: 4 cors
1
Tuba et Piano
1
+ 12 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
13
Harpe
8
Violon et Piano
6
2 Altos (duo)
4
Trio à Cordes: violon, alto, violoncelle
4
Violoncelle , Guitare (duo)
4
Alto, Piano
3
Violoncelle, Piano
3
Violon
3
Violon, Basse continue
2
2 Harpes (duo)
2
Violon, Guitare (duo)
2
Harpe, Flûte (duo)
2
Violoncelle
1
Ensemble d'Altos
1
Harpe, Violoncelle (duo)
1
Ensemble de Violons
1
Trio à Cordes: 2 violons, violoncelle
1
Alto, Guitare (duo)
1
Contrebasse, Piano (duo)
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 3 violoncelles
1
+ 17 instrumentations
Retracter
Orchestre & Percussions
Ensemble de cuivres
13
Orchestre d'harmonie
9
Orchestre à Cordes
6
Orchestre
1
Xylophone
1
Orchestre de chambre
1
Batterie
1
Fanfare
1
+ 3 instrumentations
Retracter
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CLAIRON
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COR ANGLAIS
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DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
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PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
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VIELLE A RO…
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VIOLON
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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
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ENFANTS : EVEIL - IN…
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FUNK
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
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Vous avez sélectionné:
Ain Renaissance
intermédiaire
Orchestre d'harmonie
Partitions à imprimer
9 partitions trouvées
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1
Golden Helmet Of Cortez
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Orchestre d'harmonie
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INTERMÉDIAIRE
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the end of 1520, he had won Me
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Randy A
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Golden Helmet Of Cortez
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Randy A. Steinberg
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.870372 Composed by Randy A. Steinberg. Contemporary,Latin. Score and parts. 156 pages. Randy A. Steinberg #1885815. Pub...
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Concert Band - Level 3 - SKU: A0.870372 Composed by Randy A. Steinberg. Contemporary,Latin. Score and parts. 156 pages. Randy A. Steinberg #1885815. Published by Randy A. Steinberg (A0.870372). Born in 1485, Hernando Cortez was a Spanish adventurer rewarded for his courage and skills in battle. In the spring of 1519 with 11 ships and 700 men, he landed on the newly discovered gulf coast of Mexico looking for gold that was rumored to be found there. To ensure that none of his men deserted him, he burned all except one of his fleet of ships. He quickly conquered the Aztec empire and its emperor Montezuma. There, he eventually killed Montezuma and seized the gold and treasure that had belonged to the Aztecs for centuries. By the end of 1520, he had won Mexico for Spain and put it under Spanish rule. As a reward, King Charles V of Spain made him governor and captain general of Mexico. He died in Seville, Spain in 1536. Although Cortez’ aims were for conquest and gold – many which resulted in suffering and misery for the Aztecs, there were interesting cultural side effects as Spain ruled Mexico. Ancient Indian folk tunes and ceremonial music were suddenly intermixed with the higher culture of the baroque and renaissance music from Spain. Much of what we now know of today in the way of Latin styles of music owes its roots to the invasion of Cortez and culture changes he inadvertently brought with him. The Golden Helmet Of Cortez musically commemorates the story of Cortez as he landed in Mexico on that spring day in 1519. The piece is a compilation of many Latin and Mexican musical styles. Some of these are light in style, others evoke the battles that took place. These are all brought together in an exciting programmatic style to be enjoyed by all. 2016 Arrangement New Release.
$24.99
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
#
Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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 Concert Band
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Orchestre d'harmonie
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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
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. 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
As Vesta Was From Latmos Hill Descending
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Thomas Weelkes
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Kyle Skrivanek
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As Vesta Was From Latmos Hill
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Kyle Skrivanek
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.980052 Composed by Thomas Weelkes. Arranged by Kyle Skrivanek. Classical,Contest,Festival,Instructional,Renaissance. Sc...
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Concert Band - Level 3 - SKU: A0.980052 Composed by Thomas Weelkes. Arranged by Kyle Skrivanek. Classical,Contest,Festival,Instructional,Renaissance. Score and parts. 73 pages. Kyle Skrivanek #2890997. Published by Kyle Skrivanek (A0.980052). As Vesta Was From Latmos Hill Descending tells the story of the Roman Goddess Vesta descending from a mythical hill and encountering the maiden queen, Oriana, ascending. The English composer and organist Thomas Weelkes composed this madrigal as part of a series of madrigals honoring Queen Elizabeth I known as The Triumphes of Oriana (Queen Elizabeth I was often called Oriana). Weelkes employed the technique of word painting in his composition and I maintained as much as possible in this arrangement for concert band. This arrangement is playable by advanced middle school and high school ensembles.
$40.00
Ave Regina Caelorum
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Carlo Gesualdo da Venosa
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Kyle Skrivanek
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Ave Regina Caelorum
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Kyle Skrivanek
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.980054 Composed by Carlo Gesualdo da Venosa. Arranged by Kyle Skrivanek. Classical,Contest,Festival,Instructional,Renai...
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Concert Band - Level 3 - SKU: A0.980054 Composed by Carlo Gesualdo da Venosa. Arranged by Kyle Skrivanek. Classical,Contest,Festival,Instructional,Renaissance. Score and parts. 33 pages. Kyle Skrivanek #2891017. Published by Kyle Skrivanek (A0.980054). Ave Regina Caelorum is an a capella motet by the late Italian Renaissance composer, Carlo Gesualdo. Gesualdo, a prince of Venosa, is infamously remembered for murdering his first wife and her lover. However, his legacy to the world of music is undeniable. While his use of chromaticism is most associated with his madrigals, his religious works, such as this, are more diatonic. When he does employ dissonance and chromaticism it has a far more dramatic effect. This setting is playable by middle school bands and can be played with limited instrumentation. 2nd clarinet parts remain below the break and 2nd trumpet parts stay in a manageable range. It provides the opportunity to both teach expressive playing and introduce the idea of chromaticism to students
$35.00
March Medieval
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Orchestre d'harmonie
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INTERMÉDIAIRE
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RAY MC CULLOCH
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RAY MC CULLOCH
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March Medieval
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Turtle Music Company
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1261139 By RAY MC CULLOCH. By RAY MC CULLOCH. Arranged by RAY MC CULLOCH. Film/TV,Historic,March,Renaissance. Score and...
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Concert Band - Level 3 - SKU: A0.1261139 By RAY MC CULLOCH. By RAY MC CULLOCH. Arranged by RAY MC CULLOCH. Film/TV,Historic,March,Renaissance. Score and Parts. 10 pages. Turtle Music Company #854207. Published by Turtle Music Company (A0.1261139). Think of a Hollywood version of Knights returning to their castle after some grand and glorious campaign. At the front are the victorious Knights (1st and 2nd strain) then later in the parade are the treasures that were captured. (Trio).
$49.99
Ah, Dolente Partita
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Antonio Artusini
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Kyle Skrivanek
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Ah, Dolente Partita
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Kyle Skrivanek
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.980053 Composed by Antonio Artusini. Arranged by Kyle Skrivanek. Classical,Contest,Festival,Instructional,Renaissance. ...
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Concert Band - Level 3 - SKU: A0.980053 Composed by Antonio Artusini. Arranged by Kyle Skrivanek. Classical,Contest,Festival,Instructional,Renaissance. Score and parts. 35 pages. Kyle Skrivanek #2890995. Published by Kyle Skrivanek (A0.980053). Ah, Dolente Partita was a setting of the text by the same name by Giovanni Battista Guarini. The composer, Antonio Artusini was also a lawyer, poet, and orator. He is known to have written only one set of madrigals in 1598, which this work comes from. This version for modern concert band maintains all of the original material with some parts repeated for length and musical effect. It is playable by middle school and high school bands.
$35.00
Lo, How a Rose E'er Blooming (Grade 3 Edition)
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Orchestre d'harmonie
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INTERMÉDIAIRE
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15th Century German Carol
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Christopher Durigg
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Lo, How a Rose E'er Blooming
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Christopher Durigg
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1307004 Composed by 15th Century German Carol. Arranged by Christopher Durigg. Christmas,Classical,Contemporary,Renaiss...
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Concert Band - Level 3 - SKU: A0.1307004 Composed by 15th Century German Carol. Arranged by Christopher Durigg. Christmas,Classical,Contemporary,Renaissance,Romantic Period. Score and Parts. 64 pages. Christopher Durigg #896315. Published by Christopher Durigg (A0.1307004). PRODUCT INFORMATIONNOTE: This edition has wider instrument ranges and technical requirements more suitable for Grade 3 players. A grade 2.5 edition with narrower instrument ranges and less technical requirements is also available. This edition also includes some flexible range choices to support players at different levels. Both arrangements are somewhat flexible with instrumentation.PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING AND VIRTUAL SCORE: www.cdurigg.com/cdb006g3 C. DURIGG MUSIC ID FOR THIS PIECE: CDB-006G3GRADE LEVEL: CENTRAL BAND SERIES (Grade 3)OTHER ASSOCIATED SERIES: LIMITED OR FULL BAND SERIESWHAT IS THE LIMITED OR FULL BAND SERIES FROM C.DURIGG MUSIC?Do you have intermediate or advanced performers in a very small band program? Are your performers ready for more intermediate or advanced band repertoire, yet the band’s limited instrumentation holds them back?My Limited or Full series is geared toward the success of small bands with limited instrumentation. These pieces aim at giving small bands more advanced music within the framework of a young band arrangement. If you like the music, these pieces also sound great with a larger full instrumentation.PRODUCT DESCRIPTION:Lo, How A Rose E’er Blooming (originally known as Es ist din Ros entsprungen) is a German Christmas Carol and Marian hymn in mixed meter. First sung in the 15th Century and first published int he 16th Century, this hymn is still popular in the 21st Century. In multiple different contexts, the hymn compares the beauty of Christmas to that of a lovely rose. The most common harmonization to this melody was composted by Michael Praetorius in 1609, and the original part-writing contains elements of the Renaissance madrigal. Although this band arrangement is rescored with different part-writing, it pays some homage to the musical traditions employed in the original carol. This theme and variations is a mixture of four different scoring methods: modern Christmas Carol; gently-applied lyrical contemporary; Renaissance imitation; and a bombastic, Romantic orchestral finish. This piece features multiple subtle musical sensibilities and a gentle introduction into the world of mixed meter. I sincerely hope you enjoy this arrangement!
$40.00
Petiter Suite for Larger Ensemble
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Steve Eads
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Petiter Suite for Larger Ensem
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Steve Eads
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1320913 Composed by Steve Eads. 19th Century,Classical,Comedy,Early Music,Renaissance. 79 pages. Steve Eads #909354. Pu...
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Concert Band - Level 3 - SKU: A0.1320913 Composed by Steve Eads. 19th Century,Classical,Comedy,Early Music,Renaissance. 79 pages. Steve Eads #909354. Published by Steve Eads (A0.1320913). An entertaining short six movement suite for concert band with a twist. I suggest this piece be programmed towards the end of your (perhaps too lengthy) concert with the following announcement:We are about to embark on a suite with the following six movements:  Fanfare, Danse, Sarabande, Scherzo, Capriccioso and Finale Grandioso. Please hold your applause between movements... or it will just add to the length of the piece.After hearing the hopefully muted groans of your audience you may amuse yourself knowing that the whole performance will take less than 2 ½ minutes..Includes TC parts for low brass.
$25.00
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Ain Renaissance 
