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Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arra…
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Concert Band - Level 3 - Digital Download 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
43.84 €
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Orchestre d'harmonie
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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jmsgu3
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SheetMusicPlus
Trapped
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.1153691 By Scott Custer Jr. By Sc…
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Concert Band - Level 4 - Digital Download SKU: A0.1153691 By Scott Custer Jr. By Scott Custer Jr. Contemporary. Score and parts. 101 pages. Scott Custer Jr #753948. Published by Scott Custer Jr (A0.1153691). My first complete concert band piece. It's been in the works for about 3 months. The early drafts of this piece were written in April/May and were then left to collect dust for months. I wrote it to experiment with melodic/harmonic minor scales and did not intend to finish the piece. Around the same time I wrote the early drafts of the piece, my high school band director asked if I wanted to write a piece for the concert band. I agreed and spent months working on different pieces of music, completing none of them. Around late October I stumbled across this looking through old pieces of music for some new ideas. I listened through it 3 or 4 times and decided to continue the piece. After spending roughly two months finishing the draft, and another month revising and adding parts, I had finally finished Trapped. When I started working on this piece with the intention of finishing it, I was at a difficult point in my life. I had recently come home from my rookie season of drum corps and was still transitioning back to the real world. The freedom of tour had been taken away from me, I had mentally matured a lot during the summer. While only 17 I felt like I was stuck with a bunch of kids. I had spent all summer with friends much older than me, learning a lot from them and taking inspiration from them in many ways. When I started this piece, I was conflicted with many thoughts and emotions. I was still under the impression that my peers in the music program hated me because of some of my actions last year. The girl from home I had been talking with all summer while I was gone, and hoped to start a relationship with, lied to me while I was gone about many things, causing me to remove them from my life. The last year and a half have involved many events like losing my best friend of 5 years because of, what I consider, an overreaction on my part; being used for my kindness; lied to; having secrets about me revealed behind my back by those I trusted; being a therapy friend; constant overthinking; as well as toxic friendships I didn’t want to leave because I gave them the benefit of the doubt. I felt trapped. I had spent so long trying to improve myself to become who I am today, and I still felt like crap. Even though I knew and promised myself I wouldn’t follow through, I was battling suicidal thoughts and I was in a severely depressive episode of my life. I wrote this piece to express the feeling of overthinking, being trapped in your mind, and the road to recovery. The constant back-and-forth battles with yourself, unsure of where to go and what to do next; feeling trapped. I hope that this piece connects and resonates with those of you in a similar position to what I was in, and I promise there is a way out and that life does get better. And with that, I present to you, Trapped.
$25.00
22.86 €
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Orchestre d'harmonie
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Scott Custer Jr
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being used for my kindness
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Trapped
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Scott Custer Jr
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SheetMusicPlus
Do You Hear How Many You Are?
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.1027468 Composed by Keane Southar…
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Concert Band - Level 2 - Digital Download SKU: A0.1027468 Composed by Keane Southard. Contemporary. Score and parts. 40 pages. Spindrift Pages #546437. Published by Spindrift Pages (A0.1027468). Do You Hear How Many You Are? for Concert Band was originally written in April and May of 2010 for SATB choir. I made this concert band arrangement in 2012. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line Do you hear how many you are? in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world. -Keane Southard Duration: c. 3 minutes Grade 2 -Finalist, 3rd International Frank Ticheli Competition -Premiered April 19 2013 by the Minot State University Symphonic Band, Devin Otto, conductor Website: keanesouthard.instantencore.com.
$85.00
77.71 €
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Orchestre d'harmonie
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Keane Southard
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Do You Hear How Many You Are?
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Spindrift Pages
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SheetMusicPlus
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