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Vous avez sélectionné:
The Altar
Orchestre d'harmonie
Partitions à imprimer
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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
44.33 €
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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
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 – 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
44.33 €
#
Orchestre d'harmonie
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
#
jmsgu3
#
SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabri…
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Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group 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. Because they could be appropriately situated, the instruments 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 and 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. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to 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, the instruments are an essential part of the presentation, 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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.33 €
#
Orchestre d'harmonie
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Giovanni Gabrieli
#
James M
#
Gabrieli: Jubilate Deo Ch. 136 for Concert Band
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jmsgu3
#
SheetMusicPlus
The Lost Island (Fantasy for Band) - Dinis Rego
Orchestre d'harmonie
Concert Band - Level 3 - Digital Download SKU: A0.1030900 Composed by Dinis Rego. C…
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Concert Band - Level 3 - Digital Download SKU: A0.1030900 Composed by Dinis Rego. Contemporary. Score and parts. 100 pages. Dinis Rego #483701. Published by Dinis Rego (A0.1030900). A Fantasia The Lost Island, procura demonstrar a descoberta de uma ilha perdida por um grupo de jovens aventureiros, encontrando-se dividia em seis andamentos: Shadowland, Adventure, Waterfall, Serenity, Glory e Apogee. O primeiro andamento, procura retratar o ambiente sombrio do desconhecido, a incerteza que muitas vezes existe na nossa própria vida quando experienciamos algo novo, algo que nos é desconhecido, daà o seu registo grave e sombrio, um pouco em jeito de mistério. Segue-se o andamento Adventure, este exprime a aventura inerente a esta descoberta, os momentos mais energéticos, aventureiros e perigosos vividos por este grupo de exploradores. Os dois andamentos seguintes, Waterfall e Serenity, exprimem um pouco do que é esta ilha, do seu espaço, as quedas de água a serenidade e tranquilidade existente, o verde que estamos habituados a sentir inerente a estes espaços, tendo grande ênfase no naipe das madeiras, com um pequeno solo do oboé, bastante expressivo. Por fim, a peça termina com dois andamentos num estilo mais épico, Glory e Apogee, que vão enaltecer e exaltar o feito conseguido por este grupo de jovens aventureiros, procurando perpetuar este feito para sempre no tempo.
$66.99
61.93 €
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Orchestre d'harmonie
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Dinis Rego
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The Lost Island
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Dinis Rego
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SheetMusicPlus
Lord I'm Coming To You Bb Clarinet Score
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.842170 Composed by Andrew Mc Dona…
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Concert Band - Level 4 - Digital Download SKU: A0.842170 Composed by Andrew Mc Donald. Christian,Gospel. Score and parts. 1 pages. Andrew Mc Donald (Macka Records) #5028973. Published by Andrew Mc Donald (Macka Records) (A0.842170). Lord I'm Coming To You is a song about coming forward at the altar call and making a decision for Jesus. This is the Bb clarinet part for brass or concert band.
$3.99
3.69 €
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Orchestre d'harmonie
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Andrew Mc Donald
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Lord I'm Coming To You Bb Clarinet Score
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Andrew Mc Donald
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SheetMusicPlus
Lord I'm Coming To You Eb Alto Saxophone Score
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.842173 Composed by Andrew Mc Dona…
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Concert Band - Level 4 - Digital Download SKU: A0.842173 Composed by Andrew Mc Donald. Christian,Gospel. Score and parts. 2 pages. Andrew Mc Donald (Macka Records) #5028983. Published by Andrew Mc Donald (Macka Records) (A0.842173). Lord I'm Coming to you is a song about coming forward at the altar call and accepting Jesus. This is a concert band arrangement for Eb Alto Saxophone.
$3.99
3.69 €
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Orchestre d'harmonie
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Andrew Mc Donald
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Lord I'm Coming To You Eb Alto Saxophone Score
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Andrew Mc Donald
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SheetMusicPlus
Lord I'm Coming To You Bb Trombone Score
Orchestre d'harmonie
Concert Band - Level 4 - Digital Download SKU: A0.842171 Composed by Andrew Mc Dona…
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Concert Band - Level 4 - Digital Download SKU: A0.842171 Composed by Andrew Mc Donald. Christian,Gospel. Score and parts. 2 pages. Andrew Mc Donald (Macka Records) #5028977. Published by Andrew Mc Donald (Macka Records) (A0.842171). Lord I'm Coming to You is a song about coming forward at the altar call to accept Jesus. This music is written for Bb Trombone as part of a concert band or brass band.
$3.99
3.69 €
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Orchestre d'harmonie
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Andrew Mc Donald
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Lord I'm Coming To You Bb Trombone Score
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Andrew Mc Donald
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SheetMusicPlus
Marcha Cadiz
Orchestre d'harmonie
Concert Band - Digital Download SKU: A0.733068 Composed by Joaquin Valverde y Feder…
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Concert Band - Digital Download SKU: A0.733068 Composed by Joaquin Valverde y Federico Chueca. Arranged by Marc Oliver. Contemporary. Score and parts. 63 pages. Ayotte Custom Musical Engravings #2966795. Published by Ayotte Custom Musical Engravings (A0.733068). Cádiz is a comic-lyric-dramatic national episode (zarzuela) in two acts, divided into nine paintings, with music by Federico Chueca and JoaquÃn Valverde, with a libretto by Javier de Burgos. It premiered at the Teatro Apolo in Madrid, on November 20, 1886. Cádiz (which is pronounced KAH-dis and not KAY-dis) is a Spanish seaport and naval base on the Southwest shore of the Atlantic Ocean, between the Portuguese border and the Strait of Gibraltar. (Cadiz, which is pronounced KAY-dis, is a little town in Western Kentucky on Interstate 24, about 20 miles west of Hopkinsville.) This march is one of many popular military marches in Spain.
$59.99
55.46 €
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Orchestre d'harmonie
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Joaquin Valverde y Federico Chueca
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Marc Oliver
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Marcha Cadiz
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Ayotte Custom Musical Engravings
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SheetMusicPlus
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