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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
Two Baroque
Sheetmusicplus
Non classifié
836
Piano & claviers
Piano seul
296
2 Pianos, 4 mains
35
Piano Facile
33
Orgue, Trompette (duo)
32
Orgue
31
Piano, Voix
16
1 Piano, 4 mains
10
Clavecin
7
Orgue, Piano (duo)
5
Piano Quatuor: piano, violon, alto, violoncelle
4
Accompagnement Piano
4
Piano Trio: piano, violon, violoncelle
4
Instruments en Do
3
Piano, Voix et Guitare
3
2 Accordéons
3
Accordéon
2
Fake Book
1
+ 12 instrumentations
Retracter
Guitares
2 Guitares (duo)
39
Guitare
36
Guitare notes et tablatures
29
Ukulele
13
Mandoline
5
4 Guitares (Quatuor)
3
Basse electrique
1
2 Mandolines (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
2 Dulcimers (duo)
1
Ensemble de guitares
1
2 Ukuleles
1
Dulcimer
1
3 Guitares (trio)
1
Piano, Guitare (duo)
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
26
Voix duo, Piano
12
Chorale 2 parties
12
Chorale 3 parties
11
Voix duo
9
Chorale Unison
6
Voix haute
5
Voix moyenne, Piano
4
Voix Soprano, Piano
4
Voix seule
4
Chorale TTBB
3
Chorale SSAA
2
+ 7 instrumentations
Retracter
Vents
2 Flûtes traversières (duo)
151
2 Clarinettes (duo)
118
2 Saxophones (duo)
74
Flûte traversière et Piano
51
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
35
Flûte, Hautbois, Clarinette, Basson
34
Quatuor de Saxophones: 4 saxophones
34
Clarinette et Piano
33
3 Clarinettes (trio)
29
2 Hautbois (duo)
29
Hautbois, Piano (duo)
29
Quintette de Saxophone: 5 saxophones
27
2 Flûte à bec (duo)
20
Quatuor de Flûtes : 4 flûtes
20
3 Saxophones (trio)
18
2 Flûtes traversières, Piano
17
Hautbois, Basson (duo)
17
Saxophone Alto et Piano
16
Quatuor de Clarinettes: 4 clarinettes
16
Trio de Flûtes: 3 flûtes
15
Flûte, Clarinette (duo)
12
Saxophone Tenor et Piano
12
Flûte, Hautbois, Clarinette (trio)
11
Clarinette
11
Flûte traversière
11
Saxophone Soprano et Piano
11
Ensemble de Clarinettes
10
Quatuor de Flûtes à bec
9
Clarinette, Violon (duo)
9
Flûte, Violoncelle
9
Flûte, Violon
9
Hautbois, Violoncelle
9
Cor anglais, Piano
8
2 Cors Anglais Et Pianoforte
7
Saxophone, Clarinette (duo)
7
Ensemble De Flûte à bec
7
Clarinette, Violoncelle (duo)
7
Ensemble de Flûtes
7
Flûte, Clarinette et Basson
7
Clarinette, Basson (duo)
6
Quintette de Clarinettes: 5 clarinettes
6
Saxophone Baryton, Piano
5
Hautbois, Clarinette (duo)
5
Flûte, Alto (duo)
5
Quintette de Flûte : 5 flûtes
5
Flûte, Clarinette, Piano (trio)
4
Clarinette, Trompette (duo)
4
Flûte, Saxophone (duo)
4
Ensemble de saxophones
4
Saxophone Alto
4
Hautbois (partie séparée)
4
Flûte, Hautbois, Basson
4
Flûte à bec Tenor
4
Flûte et Guitare
3
Clarinette Basse, Piano
3
Saxophone (partie séparée)
3
Saxophone Tenor
3
Flûte à bec Soprano, Piano
3
3 Flûtes à bec (trio)
3
Flûte, Violon et Violoncelle
3
Clarinette et Alto
2
5 Flûtes à bec
2
Clarinette, Violoncelle, Piano (trio)
2
Flûte, Violoncelle, Guitare
2
2 Clarinettes, Basson
2
Flûte, Hautbois, Piano (trio)
2
Flûte, Trompette (duo)
2
Hautbois, Flûte
2
Clarinette, Harpe (duo)
2
Flûte à bec Soprano
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Clarinette, trompette et piano
1
2 Hautbois et Cor anglais
1
Flûte et Trio à cordes
1
Ensemble de Hautbois
1
Flûte irlandaise
1
Flûte, Basson et Piano
1
Flûte, Hautbois (duo)
1
Piccolo
1
2 Flûtes traversières, Harpe
1
Flûte, Violon, Piano
1
Hautbois, Clarinette et Piano (Trio)
1
Clarinette, Guitare (duo)
1
Cor anglais et Harpe (duo)
1
Cor Anglais
1
2 Hautbois et Basson
1
Melodica
1
Saxophone et violoncelle
1
Flûte, Alto et Piano
1
Piccolo, Piano
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Saxophone
1
4 Hautbois
1
Flûte, Hautbois, Violon
1
Flûte, Violon, Guitare
1
Flûte, Violoncelle, Piano (trio)
1
2 Clarinettes, Piano
1
Hautbois, Harpe
1
+ 93 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
55
2 Trombones (duo)
39
2 Trompettes (duo)
38
Trompette, Piano
22
Quatuor de Cuivres : 2 trompettes, trombone, tuba
21
Trompette
18
Trombone et Piano
18
Quatuor de Cuivres: 2 trompettes, Cor, trombone
15
Ensemble de Trombones
15
Quatuor de cuivres: 4 trombones
12
2 Cors (duo)
12
2 Trompettes, Clavier (piano ou orgue)
9
Ensemble de Trompettes
9
Trompette, Trombone (duo)
9
Cor et Piano
8
2 Tubas (duo)
8
Cor anglais, Piano
8
2 Cors Anglais Et Pianoforte
7
3 Trombones (trio)
7
Trombone
7
Trompette, Basson (duo)
6
2 Euphoniums (duo)
6
Trompette, Saxophone (duo)
5
Euphonium, Piano (duo)
5
Tuba
4
Trompette, Violoncelle (duo)
4
Cor
4
Quatuor de cuivres: 4 cors
4
Cor, Violoncelle (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Quatuor de cuivres: 4 trompettes
3
2 Euphoniums et 2 Tubas
3
Euphonium
2
3 Cors (trio)
2
Tuba et Orgue
2
3 Tubas (trio)
2
Cor et Harpe
2
Cor et Basson (duo)
2
Trompette, Cor (duo)
2
Ensemble de Cors
2
Trompette (partie séparée)
2
Tuba et Piano
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trombone basse
1
3 Euphoniums
1
Trompette, Trombone, Piano
1
Cor, Violoncelle et Piano
1
Cor anglais et Harpe (duo)
1
Cor Anglais
1
Trio de Cuivres
1
Euphonium, Tuba (duo)
1
Trompette, Harpe
1
Quatuor de Cuivres
1
4 Tubas
1
+ 49 instrumentations
Retracter
Cordes
2 Violons (duo)
147
Quatuor à cordes: 2 violons, alto, violoncelle
112
Violon, Violoncelle (duo)
106
2 Violoncelles (duo)
78
Trio à Cordes: violon, alto, violoncelle
55
Trio à Cordes: 2 violons, violoncelle
52
2 Altos (duo)
50
Violon et Piano
48
Violon
46
Violon, Alto (duo)
42
Harpe
30
Alto, Piano
29
Violoncelle, Piano
26
Trio à Cordes: 2 violons, alto
18
Violoncelle
17
2 Violons, Piano
16
Quintette à cordes: 2 violons, alto, violoncelle, basse
15
2 Harpes (duo)
14
Alto, Violoncelle (duo)
10
Harpe, Flûte (duo)
7
4 Violoncelles
7
Alto seul
6
Harpe, Violon (duo)
6
Alto (partie séparée)
6
Violon (partie séparée)
6
Trio à cordes: 3 violins
6
Violon, Basson (duo)
5
Quatuor à cordes: 4 violons
5
Alto et Basson
5
Contrebasse, Piano (duo)
5
Trio à Cordes: 3 violoncelles
4
2 Contrebasses (duo)
4
Trio à cordes
4
Ensemble de Violons
3
Ensemble d'Altos
3
Harpe et Piano
2
Contrebasse (partie séparée)
2
Quatuor à cordes : 4 altos
2
Violoncelle, Contrebasse (duo)
2
Violoncelle, Basse continue
2
Contre Basse
2
Violoncelle (partie séparée)
1
Harpe, Violoncelle (duo)
1
Alto et Harpe
1
Trio à cordes: 3 altos
1
Harpe, Violon, Violoncelle
1
Piano Trio: Violon, Alto, Piano
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
+ 43 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
83
Orchestre de chambre
65
Ensemble de cuivres
51
Orchestre
16
Orchestre d'harmonie
14
Cloches
4
Xylophone
2
Marimba
2
2 Xylophones
1
Ensemble Jazz
1
Xylophone, Piano
1
Ensemble de Percussions
1
+ 7 instrumentations
Retracter
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DULCIMER
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FLUTE A DIX…
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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
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TROMPETTE
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Vous avez sélectionné:
Two Baroque
SheetMusicPlus
Partitions à imprimer
14 partitions trouvées
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1
Vivaldi Concerto for Two Trumpets
#
Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Antonio Vivaldi
#
Arranged Steven Stanke
#
Vivaldi Concerto for Two Trump
#
Steven Stanke
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.985608 Composed by Antonio Vivaldi. Arranged by Arranged Steven Stanke. Baroque. Score and parts. 122 pages. Steven Sta...
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Concert Band - Level 4 - SKU: A0.985608 Composed by Antonio Vivaldi. Arranged by Arranged Steven Stanke. Baroque. Score and parts. 122 pages. Steven Stanke #6323503. Published by Steven Stanke (A0.985608). This sparkling concerto by Vivaldi is one of the few solo works of the early 1700s to feature brass instruments. Their rarity stems from the difficulties inherent in the Baroque trumpet which were, at that time, natural, or valveless. This arrangement requires two advanced soloists able to play in the upper register, to a high C.
$45.00
Concerto for Two Trumpets or Cornets and Wind Band
#
Orchestre d'harmonie
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Antonio Vivaldi
#
Gordon Cherry
#
Concerto for Two Trumpets or C
#
Gordon Cherry
#
SheetMusicPlus
Concert Band - Level 4 - SKU: A0.707837 Composed by Antonio Vivaldi. Arranged by Gordon Cherry. Baroque,Classical,Renaissance. Score and parts. 27 pages...
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Concert Band - Level 4 - SKU: A0.707837 Composed by Antonio Vivaldi. Arranged by Gordon Cherry. Baroque,Classical,Renaissance. Score and parts. 27 pages. Gordon Cherry #4726521. Published by Gordon Cherry (A0.707837). Newly transcribed for traditional brass band & 2 solo Eb soprano cornets in the key of Bb by Gordon Cherry, principal trombone of the Vancouver Symphony. The entire three movement Concerto features 2 dazzling Eb soprano cornet parts as soloists. Feature your two star cornetists as soloists in this exciting work. Parts are as follows: two solo Eb cornets, two Bb cornets, Eb alto horn or Bb flugelhorn, Bb treble clef trombone and/or baritone and/or Euphoniums, Bass clef trombone, Bb treble Eb bass tuba, BBb treble bass tuba & full score. This transcription is very tastefully done with detailed editing of phrasing and dynamics. This work is 10 minutes in length and requires advanced players on the solo parts and players between high intermediate and advanced on the accompaniment parts. Vivaldi's composition is magnificent and will be a favorite on your program.
$25.00
Arrival of the Queen of Sheba for Two Solo Instruments and Concert Band
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Orchestre d'harmonie
#
Classique
#
George Frideric Handel
#
Keith Michael Davis
#
Arrival of the Queen of Sheba
#
Komodo Music
#
SheetMusicPlus
Concert Band - SKU: A0.932830 Composed by George Frideric Handel. Arranged by Keith Michael Davis. Baroque. Score and parts. 78 pages. Komodo Music #659...
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Concert Band - SKU: A0.932830 Composed by George Frideric Handel. Arranged by Keith Michael Davis. Baroque. Score and parts. 78 pages. Komodo Music #6593353. Published by Komodo Music (A0.932830). A lively sinfonia from one of Handel's last oratorios, this excerpt from Solomon has established itself as standard fare for chamber orchestras and ensembles around the globe. With this arrangement, this Baroque classic is now available for your concert band, with an opportunity to feature your finest instrumentalists (in C or B-flat) in a prominent duet.
$60.00
A Mighty Fortress (Concert Band)
#
Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Classique
#
Jubal's Lyre Music
#
Martin Dicke
#
A Mighty Fortress
#
Jubal's Lyre Music Publishers
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.918905 By Jubal's Lyre Music. By Johann Pachelbel and Johann Sebastian Bach. Arranged by Martin Dicke. Baroque,Christia...
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Concert Band - Level 3 - SKU: A0.918905 By Jubal's Lyre Music. By Johann Pachelbel and Johann Sebastian Bach. Arranged by Martin Dicke. Baroque,Christian,Classical,Contest,Festival,Sacred. Score and Parts. 65 pages. Jubal's Lyre Music Publishers #6567815. Published by Jubal's Lyre Music Publishers (A0.918905). Here is a compelling setting of Martin Luther’s hymn A Mighty Fortress Is Our God (EIN FESTE BURG) by Johann Pachelbel (1653-1750). Originally composed for organ, it has been arranged for Concert Band with optional keyboard. Two harmonizations of the isometric version of the hymn are also provided. The first is a standard harmonization found in many hymnals. The second is based on the concluding Chorale of Cantata 80 by Johann Sebastian Bach (1685-1750). Including the music of both Bach and Pachelbel, this arrangement serves as an excellent introduction to the music of the Baroque era and the contributions of great Lutheran composers. It also provides opportunities to discuss the time of the Reformation. For worship the arrangement can be played alone or it can be used to accompany congregational singing. The Full Score is formatted for legal-size paper (8.5x14) while the parts are formatted for letter-size paper (8.5x11). Additional arrangements are available for Brass, Woodwind Quintet, and Strings. For more music and information, visit www.jubalslyre.com/music.
$40.00
Antique Sketches
#
Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Dan Cook
#
Antique Sketches
#
Pecan Valley Music
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.1221249 Composed by Dan Cook. Baroque,Contemporary,Contest,Festival,Instructional. Score and Parts. 89 pages. Pecan Val...
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Concert Band - Level 3 - SKU: A0.1221249 Composed by Dan Cook. Baroque,Contemporary,Contest,Festival,Instructional. Score and Parts. 89 pages. Pecan Valley Music #817581. Published by Pecan Valley Music (A0.1221249). Grade 3+duration; 4:30I) Sarabande (2:38)II) Fugue (1:53)Flutes 1 & 2, Oboe, Bassoon, Bb Clarinets 1, 2 & 3, Bass Clarinet, Alto Saxes 1 & 2, Tenor Sax, & Baritone SaxBb Trumpets 1, 2 & 3, Horns in F 1 & 2, Trombones 1 & 2, Euphonium, & TubaTimpani, Bells, VibraphoneSnare Drum, Bass Drum, Crash CymbalAntique Sketches was composed with the intention of creating an accessible work for young band using counterpoint. Some of my favorite memories as a student in public school band include performing various arrangements of J.S. Bach. I loved sitting in the trumpet section listening across the ensemble to how the various melodic lines would rapidly fizz around from instrument to instrument.This short, two movement work is designed to foster this listening experience in your students. The first movement consists of a simple binary form, with woodwinds and brass trading off a slow melodic line. The ensemble then combines to allow for the exploration of top to bottom, back to front balance and blend without having to worry about too much technique. There are also moments of modernity in the harmonic structure designed to help anchor the movement to the present.The second movement is a fugue with a long melodic subject and two countersubjects, the point of which is to apply the listening lessons from the first movement to the more technical aspects of the second. Fugue subjects are announced with percussion entrances to focus the listening experience across the ensemble and the audience.
$40.00
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Orchestre d'harmonie
#
INTERMÉDIAIRE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
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: Jubilate Deo Ch. 136 for Concert Band
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Orchestre d'harmonie
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...
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Concert Band - Level 2 - 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
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
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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
ChorAlles - Easy Chorales for Junior or Beginning Band (grade 1)
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Orchestre d'harmonie
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DÉBUTANT
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Musique Sacrée
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Ivan Marini
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ChorAlles - Easy Chorales for
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www.dalsegno.eu
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.770426 Composed by Ivan Marini. Baroque,Contemporary,Instructional,Praise & Worship,Sacred. Score and parts. 22 pages. ...
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Concert Band - Level 1 - SKU: A0.770426 Composed by Ivan Marini. Baroque,Contemporary,Instructional,Praise & Worship,Sacred. Score and parts. 22 pages. Www.dalsegno.eu #5221533. Published by www.dalsegno.eu (A0.770426). Three very easy chorales for beginning or Junior Band.Accurately scored for Grade 1 with easy keys and limited ranges:Flute: 1 Octave (A to A)Oboe (opt.): 1 Octave (F to F)Clarinet: bottom G to throat ASaxophones: 1 Octave (G to G)Trumpet: 1 Octave (B to B)Horn: 1 Octave (C to C)Low Brass: 1 Octave (written C to C, sounding Bb to Bb)Two Timpani opt.Every instrument or family takes the lead for a well-changing sound despite the easy level.Extended cross-cueing for smaller and/or incomplete bands.Ideal for band classes but also as a warm-up or tuning exercise for more experienced players, for final concerts and for every sacred or worship event.Complete set with full score and parts: Flute/Oboe, Bb Clarinet, Bb Bass Clarinet (opt.), Eb Alto Sax, Bb Tenor Sax, Bb Trumpet, F Horn, C Bassoon/Trombone/Euphonium, Bb Euphonium TC, C Basses, Timpani (opt.).Duration ca. 4 mins., 6 pages. Feel free to contact me at info@dalsegno.eu for any other setting!Please, check my other works at www.sheetmusicplus.com/publishers/3025323or visit www.dalsegno.eu
$2.99
2 Classical Favourites for School Band (volume one)
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Orchestre d'harmonie
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DÉBUTANT
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Classique
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Antonio Vivaldi, Edvard Grieg
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David Burndrett
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2 Classical Favourites for Sch
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David Burndrett
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SheetMusicPlus
Concert Band - Level 1 - SKU: A0.554493 Composed by Antonio Vivaldi, Edvard Grieg. Arranged by David Burndrett. Baroque,Romantic Period. Score and Parts...
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Concert Band - Level 1 - SKU: A0.554493 Composed by Antonio Vivaldi, Edvard Grieg. Arranged by David Burndrett. Baroque,Romantic Period. Score and Parts. 50 pages. David Burndrett #1909681. Published by David Burndrett (A0.554493). No.1 Autumn (First Movement From The Four Seasons) No.2 In The Hall of The Mountain King These are two easy, flexible and fun pieces for school band. I have added an optional piano part.Download includes the score and all of the parts.
$12.95
CHRISTMAS CELEBRATION with Flex-Scoring
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Noël
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Anonymous & George F
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Kent S
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CHRISTMAS CELEBRATION with Fle
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WINDCREST
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.945060 Composed by Anonymous & George F. Handel. Arranged by Kent S. Burchill. Baroque,Christmas,Holiday,Sacred,Traditi...
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Concert Band - Level 4 - SKU: A0.945060 Composed by Anonymous & George F. Handel. Arranged by Kent S. Burchill. Baroque,Christmas,Holiday,Sacred,Traditional. Score and parts. 87 pages. WINDCREST #6056621. Published by WINDCREST (A0.945060). CHRISTMAS CELEBRATION features two selections - Westminster Carol and Joy To The World - and has been written with flexible scoring options permitting performance by a wide variety of wind instruments. While this selection may be performed as a quartet, best results are obtained by performance of at least five heterogeneous instruments. The full score has been revised and groups instruments in an easier to read format. The percussion are optional but add an additionally rich sonority and texture. If performance is undertaken without percussion, simply omit the four measure introduction and begin at letter A.Performance duration is about 4 minutes. The following concert-pitched key centers are found in this selection: Bb Major, g minor, C Major, and Db Major. Instruments included in the accompanying mp3 audio file include: 1 Flute, 2 Bb Clarinets, 1 Trumpet, 1 Baritone Sax, 1 French Horn, 1 Bassoon, 1 Tuba, Timpani, and Sn. Drum.
$18.00
Rhapsody for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00
Telemann Sonata for Band Score and Woodwind Parts
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Georg Philip Telemann
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Bud Caputo
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Telemann Sonata for Band Score
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Bud Caputo
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.826599 Composed by Georg Philip Telemann. Arranged by Bud Caputo. Baroque,Standards. Score and parts. 37 pages. Bud Cap...
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Concert Band - Level 3 - SKU: A0.826599 Composed by Georg Philip Telemann. Arranged by Bud Caputo. Baroque,Standards. Score and parts. 37 pages. Bud Caputo #1892485. Published by Bud Caputo (A0.826599). 2016 Arrangement New Release Sonata in F minor - Movements 1 and 4- by George Philip Telemann is a D minor arrangement for full band that uses the themes and harmonies from the original sonata for solo flute. The two contrasting movements make this a challenging, yet solid, grade 3 work for advanced middle school and younger high school bands. Brass and Percussion parts are under separate cover.
$20.00
Jesu, Joy of Man's Desiring/Blessed Assurance
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Orchestre d'harmonie
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INTERMÉDIAIRE
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Fanny J
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Jeff Tincher
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Jesu, Joy of Man's Desiring/Bl
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Jeff Tincher
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SheetMusicPlus
Concert Band - Level 3 - SKU: A0.582491 Composed by Fanny J. Crosby, Johann Sebastian Bach, Johannes Schop, Martin Janus, and Phoebe B. Knapp. Arranged ...
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Concert Band - Level 3 - SKU: A0.582491 Composed by Fanny J. Crosby, Johann Sebastian Bach, Johannes Schop, Martin Janus, and Phoebe B. Knapp. Arranged by Jeff Tincher. Baroque,Contemporary,Spiritual. Score and parts. 37 pages. Jeff Tincher #3213731. Published by Jeff Tincher (A0.582491). This is a concert band mash-up of two well-known classical tunes, Johann Sebastian Bach's Jesu, Joy of Man's Desiring and the great hymn Blessed Assurance. I call it a mash-up because Jesu is the base of the arrangement with Blessed being used as the main melody. Written in 9/8, this is a great arrangement for any performance venue. Good competition piece. Duration=3:50. Visit my websites: https://jefftincher.wixsite.com/sheetmusic, https://jefftincher.wixsite.com/music, https://www.facebook.com/jefftincherpublishing
$20.00
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