Partitions Numériques de Sonata No. 2 pour Orchestre d'harmonie

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TRI ET FILTRES

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Non classifié 110

PIANO & CLAVIERS

Piano seul 164 Orgue 5 Piano, Voix 2 1 Piano, 4 mains 2 Piano Facile 1

Piano Quatuor: piano, 2 violons, violoncelle 1 Accompagnement Piano 1 Piano Trio: piano, violon, violoncelle 1 Piano, Voix et Guitare 1 Piano Quatuor: piano, violon, alto, violoncelle 1

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GUITARES

2 Guitares (duo) 20 Guitare 8 Guitare notes et tablatures 5 Piano, Guitare (duo) 2 Ensemble de guitares 1

VOIX

VENTS

Flûte traversière 50 2 Flûtes traversières (duo) 36 2 Saxophones (duo) 30 2 Clarinettes, Basson 23 Flûte à Bec 14

3 Clarinettes (trio) 14 Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 14 2 Clarinettes (duo) 14 Flûte, Hautbois, Clarinette (trio) 14 Flûte, Clarinette et Basson 13 Flûte, Hautbois, Basson 13 3 Saxophones (trio) 11 Flûte traversière et Piano 9 2 Hautbois (duo) 9 Flûte et Guitare 9 Trio de Flûtes: 3 flûtes 6 Quintette de Saxophone: 5 saxophones 5 Clarinette et Piano 5 Flûte, Violon et Violoncelle 5 Clarinette Basse, Piano 4 2 Hautbois et Basson 3 Saxophone Alto et Piano 3 Quatuor de Flûtes : 4 flûtes 3 Saxophone Tenor et Piano 3 Quatuor de Saxophones: 4 saxophones 3 Hautbois, Piano (duo) 3 Clarinette 3 Quatuor de Clarinettes: 4 clarinettes 3 Flûte, Clarinette (duo) 2 Quintette de Clarinettes: 5 clarinettes 2 Ensemble de Flûtes 2 Flûte, Hautbois, Clarinette, Basson 2 Saxophone Baryton, Piano 2 Cor anglais, Piano 2 Saxophone Soprano et Piano 2 Quintette de Flûte : 5 flûtes 1 Hautbois, Harpe 1 Flûte à bec Soprano, Piano 1 Saxophone Tenor 1 Clarinette, Harpe (duo) 1 Cor anglais, Guitare (duo) 1 Clarinette, Guitare (duo) 1 Flûte traversière, Basse continue 1 Flûte à bec Alto, Basse continue 1 Ensemble de Clarinettes 1 Flûte, Violon 1 Saxophone et Guitare 1 Flûte, Violon, Piano 1 Cor anglais et Harpe (duo) 1 Ensemble De Flûte à bec 1 Saxophone Alto 1

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CUIVRES

2 Trompettes (duo) 9 Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 9 2 Cors (duo) 9 Euphonium, Piano (duo) 5 Trombone et Piano 5

Quatuor de Cuivres : 2 trompettes, trombone, tuba 4 Trompette, Piano 3 Quatuor de cuivres: 4 trombones 3 2 Trombones (duo) 3 Trompette 2 2 Tubas (duo) 2 Trompette, Trombone (duo) 2 Cor anglais, Piano 2 3 Trombones (trio) 1 Tuba et Piano 1 3 Cors (trio) 1 3 Tubas (trio) 1 4 Tubas 1 Quatuor de Cuivres: 2 trompettes, Cor, trombone 1 Cor anglais, Guitare (duo) 1 Trombone 1 Quatuor de cuivres: 4 trompettes 1 Cor et Piano 1 3 Trompettes (trio) 1 Trio de Cuivres 1 Cor anglais et Harpe (duo) 1 Cor 1 Trompette, Cor (duo) 1

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CORDES

Violon 75 Trio à Cordes: 2 violons, violoncelle 39 2 Violons (duo) 37 Quatuor à cordes: 2 violons, alto, violoncelle 23 Violon et Piano 23

2 Violoncelles (duo) 21 2 Altos (duo) 15 Violoncelle, Piano 9 Violoncelle 9 Trio à Cordes: violon, alto, violoncelle 8 Alto, Piano 8 Violon, Alto (duo) 5 Alto, Violoncelle (duo) 4 Violon, Violoncelle (duo) 3 Violoncelle, Basse continue 2 Trio à Cordes: 3 violoncelles 2 Harpe, Flûte (duo) 2 Harpe 2 Alto et Harpe 1 4 Violoncelles 1 Alto seul 1 Violon, Guitare (duo) 1 Harpe, Violon (duo) 1 Alto, Guitare (duo) 1 2 Contrebasses (duo) 1 Trio à cordes: 3 altos 1 Piano Trio: Violon, Alto, Piano 1 Trio à cordes: 3 violins 1 Trio à Cordes: 2 violons, alto 1 Quintette à cordes: 2 violons, alto, violoncelle, basse 1 Alto (partie séparée) 1 Harpe, Violoncelle (duo) 1

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PERCUSSIONS & ORCHESTRES

Orchestre à Cordes 4 Ensemble Jazz 3 Orchestre d'harmonie 1 Orchestre de chambre 1 Orchestre 1

AUTRES

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Sonata No. 2

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Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band

Orchestre d'harmonie

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arra…(+)

Concert Band - Level 3 - Digital Download 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™s later motets Sacrae SymphoniaeÂ (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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 43.98 € #Orchestre d'harmonie #Gabrieli #James M #Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band #jmsgu3 #SheetMusicPlus