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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
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BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
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CLARINETTE
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FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
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HARPE
HAUTBOIS
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MANDOLINE
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OCARINA
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VENTS
Ensemble de Flûtes
93
Ensemble de Clarinettes
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Flûte, Hautbois, Clarinette, Basson
28
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27
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27
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18
Ensemble de saxophones
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Quintette de Flûte : 5 flûtes
14
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11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Flûte traversière
7
Quintette de Clarinettes: 5 clarinettes
6
3 Saxophones (trio)
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Flûte traversière et Piano
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5 Flûtes à bec
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Clarinette
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Quatuor de Flûtes à bec
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Clarinette et Piano
4
Flûte à bec Soprano
3
Trio de Flûtes: 3 flûtes
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Flûte et Guitare
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3 Clarinettes (trio)
3
Hautbois, Piano (duo)
3
Clarinette, Guitare (duo)
3
4 Hautbois
2
Saxophone Alto
2
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Cor anglais, Piano
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3 Hautbois
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
53
Ensemble de Trompettes
42
Ensemble de Trombones
17
Quatuor de cuivres: 4 trombones
8
Trompette
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Quatuor de cuivres: 4 trompettes
4
Trompette, Piano
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Trombone
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Cor
3
Quatuor de cuivres: 4 cors
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Trombone et Piano
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Trompette, Trombone (duo)
2
Tuba et Piano
2
Euphonium, Tuba (duo)
1
2 Tubas (duo)
1
Trompette (partie séparée)
1
2 Trompettes, Clavier (piano ou orgue)
1
Cor anglais, Piano
1
Euphonium, Piano (duo)
1
Tuba
1
2 Trompettes (duo)
1
Ensemble de Cors
1
4 Euphoniums
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
12
Violon
9
Violoncelle (partie séparée)
8
Alto, Piano
8
Violon, Guitare (duo)
6
Trio à Cordes: violon, alto, violoncelle
6
Violoncelle, Piano
6
Alto seul
5
Alto (partie séparée)
5
Violon et Piano
4
Alto, Guitare (duo)
3
Violoncelle , Guitare (duo)
2
Violon, Violoncelle (duo)
2
Contrebasse, Piano (duo)
2
4 Violoncelles
2
Violoncelle
2
Ensemble de Violoncelles
2
2 Violoncelles (duo)
1
Violon, Orgue
1
2 Violons (duo)
1
Trio à cordes: 3 violins
1
2 Altos (duo)
1
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PERCUSSIONS & ORCHESTRES
Ensemble de cuivres
43
Orchestre de chambre
20
Cloches
20
Orchestre à Cordes
17
Orchestre
14
Orchestre d'harmonie
9
Quintette de Cuivres: autres combinaisons
1
Quintette à Vent
1
Ensemble Jazz
1
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Choir Baroque
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2501
His Yoke is Easy from Handel's Messiah for Flute Choir
Ensemble de Flûtes
Flute Choir - Advanced Intermediate - Digital Download Composed by George Frideric …
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Flute Choir - Advanced Intermediate - Digital Download Composed by George Frideric Handel (1685-1759). Arranged by Lisa Ochoco. Baroque Period, Christian, Sacred, Christmas, Recital. Score, Set of Parts. 18 pages. Published by Lisa Ochoco
Handel's Messiah is one of the most popular musical works of all time, and choirs around the world perform Part 1 of Messiah every Christmas season.<br> <br> His Yoke is Easy would be a great closer for your Christmas concert. It is the last movement in the Christmas section of Messiah. The Hallelujah Chorus is usually what is sung after this.<br> <br> This arrangement is for the more advanced choir, however, parts 5 & 6 could be used for those who aren't as advanced.<br> <br> Scored for 6 C flutes, alto, bass, and optional contrabass. There is also a cello part, which can also be played by any C instrument in a similar range, such as a bassoon.
$14.00
12.8 €
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Ensemble de Flûtes
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George Frideric Handel
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His Yoke is Easy from Handel's Messiah for Flute Choir
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Lisa Ochoco
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SheetMusicPlus
Two Sacred Pieces for Trombone Ensemble Choir
Ensemble de Trombones
Trombone Ensemble Choir - Advanced Intermediate - Digital Download Composed by Heinri…
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Trombone Ensemble Choir - Advanced Intermediate - Digital Download Composed by Heinrich Schutz (1585-1672). Arranged by Kenneth Biggs. Baroque Period, Renaissance, Early Music, Sacred. Score, Set of Parts. 32 pages. Published by Cherry Classics Music
Heinrich Schütz (1585-1672) wrote the Musikalische Exequien, opus 7 (SWV 279-281) for the funeral of Prince Heinrich Posthumus von Reuss (1572-1635). Prince Heinrich’s widow and sons commissioned the work upon his death and provided Schütz with Bible verses as the text, which were also inscribed on the prince’s coffin.<br> <br> Two of the three parts of the Musikalische Exequien have been arranged for 8-part Trombone Ensemble in two different choirs. The first piece, Motet is reminiscent of Gabrieli's Sonatas. The second piece, Canticum Sineonis is dense, rich, and evokes deep spiritual suffering and loss.<br> <br> Two Sacred Pieces have been exquisitely edited and arranged by Kenneth Biggs for moderately advanced performers and work very well with 2 Alto Trombones, 4 Tenor Trombones, and 2 Bass Trombones.
$32.50
29.72 €
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Ensemble de Trombones
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Heinrich Schutz (1585-1672)
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Kenneth Biggs
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Two Sacred Pieces for Trombone Ensemble Choir
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Cherry Classics Music
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SheetMusicPlus
Beethoven: Sonata Op. 49 No. 2 for Flute Choir
Ensemble de Flûtes
Flute choir: 1piccolo, 4 concert flutes, 1 alto, 1 bass, 1 contrabass (optional) and…
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Flute choir: 1piccolo, 4 concert flutes, 1 alto, 1 bass, 1 contrabass (optional) and 1 cello (optional). - Intermediate - Digital Download Composed by Ludwig van Beethoven (1770-1827). Arranged by James M. Guthrie, ASCAP. Baroque Period, Repertoire, European, Wedding, Recital. Score, Set of Parts. 103 pages. Published by jmsgu3
Beethoven Sonata Op. 49 No. 2 arranged for flute choir. Duration: ca: 10:15 Score: 60 pages, 242 measures. In two movements. A great recital piece to demonstrate nuances of the flute choir.
$49.95
45.68 €
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Ensemble de Flûtes
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Ludwig van Beethoven
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James M
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Beethoven: Sonata Op. 49 No. 2 for Flute Choir
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jmsgu3
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SheetMusicPlus
Bach Chaconne for Clarinet Octet / Choir
Ensemble de Clarinettes
Clarinet, Woodwind Choir or Ensemble - Advanced Intermediate - Digital Download Com…
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Clarinet, Woodwind Choir or Ensemble - Advanced Intermediate - Digital Download Composed by Johann Sebastian Bach (1685-1750). Arranged by Daisuke Uchiyama. Baroque Period. Score, Set of Parts. 88 pages. Published by Aya Music Publishing
J.S.Bach / Chaconne from Vilolin Partita No.2 in D minor, BWV1004 (for Clarinet Octet / Choir)<br> Arr. by Daisuke Uchiyama<br> <br> Including Score and Parts:<br> Eb, Bb 1-4, Alto, Bass, Contralto, (Option)Contrabass
$89.95
82.27 €
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Ensemble de Clarinettes
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Johann Sebastian Bach
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Daisuke Uchiyama
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Bach Chaconne for Clarinet Octet / Choir
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Aya Music Publishing
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SheetMusicPlus
Hallelujah Chorus (for 2-part choir - (SA)
Chorale 2 parties
Choir, SA - Early Intermediate - Digital Download Composed by George Frideric Hande…
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Choir, SA - Early Intermediate - Digital Download Composed by George Frideric Handel (1685-1759). Arranged by Stephen DeCesare. Classical Period, Baroque Period, Christian, Sacred, Easter. Sheet Music Single. 10 pages. Published by Exultet Music
The most well known of all the movements in The Messiah: the "Hallelujah Chorus" has now been freshly arranged in an accessible key (Bb) but true to original source material for a 2-part choir (SA) with Piano accompaniment. Accessible and appropriate for any church or concert setting. An accompaniment track is also available.
$3.99
3.65 €
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Chorale 2 parties
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George Frideric Handel
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Hallelujah Chorus
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Exultet Music
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SheetMusicPlus
Achieving Guitar Artistry - Contemporary Baroque Etudes
Guitare
Guitar (classical and lute) - Intermediate-Advanced - Digital Download Composed by Wi…
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Guitar (classical and lute) - Intermediate-Advanced - Digital Download Composed by William Bay. Achieving Guitar Artistry. Baroque. E-book. 76 pages. Mel Bay Publications - Digital Sheet Music #WBM26EB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619117549.<br> <br> The arts flourished in the Baroque period. Music from that time is still performed worldwide by symphonies, opera companies, choirs, chamber ensembles and soloists on many instruments. The period was characterized by the works of such great artists as J. S. Bach (b. 1685), Handel (b. 1685), Telemann (b. 1681) and many others. These composers defined the rich, ornate and melodic Baroque style of music which we categorize in the classical realm. There was another genre of music flourishing during this period, and that was the common or folk music style characterized by such composers as Ireland's legendary harpist, Turlough O'Carolan (b. 1670).In composing music for this book the author recreated harmonic and melodic elements of this great musical age, while adding some contemporary twists. All of the etudes are original and will serve to enhance guitar technique, phrasing, expression, note- reading ability, and knowledge of the entire guitar fingerboard. Fingering and string markings are included where appropriate.In addition to facilitating the many technical and aesthetic aspects of performing at an advanced level on the guitar, these etudes may be used successfully in concerts or recitals. This book is an ideal companion for the other books in the Mel Bay Achieving Guitar Artistry series, which is designed to condition and guide the developing guitarist to an advanced level of proficiency, regardless of the style of music performed.
$17.99
16.45 €
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Guitare
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William Bay
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Achieving Guitar Artistry - Contemporary Baroque Etudes
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Clarinet Choir: Haydn's Divertimento nº1 in B-flat major
Ensemble de Clarinettes
Composed by Franz Joseph Haydn (1732-1809). Arranged by Harry Walker. Baroque Period, R…
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Composed by Franz Joseph Haydn (1732-1809). Arranged by Harry Walker. Baroque Period, Repertoire. Individual Part, Score. 33 pages. Published by SCORE EDITIONS
Franz Joseph Haydn was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet". The Divertimento - No. 1 in B-Flat, was arranged for clarinet quintet or clarinet choir.The sound sample is an electronic preview.The pdf contains score and parts.
$9.99
9.14 €
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Ensemble de Clarinettes
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Franz Joseph Haydn
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Clarinet Choir: Haydn's Divertimento nº1 in B-flat major
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SCORE EDITIONS
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SheetMusicPlus
Vivaldi: Magnificat in G minor RV611, (SSA soli, SSAA choir) - Score Only
Soli, choeur mixte et accompagnement
Level 4 - Digital Download SKU: A0.1402017 Composed by Antonio Vivaldi. Arranged by…
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Level 4 - Digital Download SKU: A0.1402017 Composed by Antonio Vivaldi. Arranged by Roar Kvam. Baroque,Christmas,Latin,Religious,Sacred. 50 pages. KVAMusic Edition #985216. Published by KVAMusic Edition (A0.1402017).
$13.00
11.89 €
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Soli, choeur mixte et accompagnement
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Antonio Vivaldi
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Roar Kvam
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Vivaldi: Magnificat in G minor RV611,
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KVAMusic Edition
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SheetMusicPlus
Christ the Lord is Risen Today (for flute choir)
Ensemble de Flûtes
Flute, Woodwind Choir or Ensemble - Intermediate - Digital Download Composed by Charl…
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Flute, Woodwind Choir or Ensemble - Intermediate - Digital Download Composed by Charles Wesley. Arranged by Ralph Raymond Hays. Christian, Sacred, Praise & Worship, Easter, Recital. Score, Set of Parts. 10 pages. Published by Ralph Raymond Hays
This unique and clever and arrangement features all members of the ensemble and will provide a highlight to an Easter service or recital. Various textures are employed including a variation in the style of a Baroque fugue. The countermelodies and florid accompanying passages give this work an engaging originality while at the same time maintaining the integrity of the familiar hymn.
$12.50
11.43 €
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Ensemble de Flûtes
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Charles Wesley
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Ralph Raymond Hays
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Worship, Easter, Recital
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Christ the Lord is Risen Today
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Ralph Raymond Hays
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. A…
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String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. Jmsgu3 #3464715. Published by jmsgu3 (A0.549211). A musical monument: the first composition to employ dynamics. Instrumentation: 2 violins, 1 viola, 5 cellos 1 double bass. Arranged in two antiphonal choirs: I - string quartet, II - cello choir w/bass. The double bass part assumes low c extension; however, a non-extension bass part is included.Giovanni Gabrieli's Sonata Pian e Forte is essential as it represents the shift from the Renaissance to the Baroque period. It is part of his 1597 Sacrae symphoniae, which contains sixty-three choral and instrumental works, many in multi-choir formations. It is the first known composition in history to employ dynamics, with Gabrieli using specific notation to indicate instrumentation and experimenting with assembling massive instrumental forces into isolated groups separated by space. This innovation contributed heavily to the Baroque Concertato style and the development of the sonata, a musical form that came into general use toward the end of the sixteenth century. The structure of the piece is defined by the dialogue between two instrumental choirs, making it a key example of Gabrieli's influential contributions to the transition in musical style during his time.
$47.95
43.85 €
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
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jmsgu3
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SheetMusicPlus
Herzliebster Jesu from St. Matthew Passion - for Men's Choir (Am)
Chorale TTBB
Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1324266 Composed by…
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Choral Choir,Choral (TTBB) - Level 3 - Digital Download SKU: A0.1324266 Composed by Johann Sebastian Bach. Arranged by Alex E. Advent,Baroque,Classical,Religious,Sacred. 3 pages. Müller Publishing company #912464. Published by Müller Publishing company (A0.1324266). Herzliebster Jesu from St. Matthew Passion - for Men's Choir (A minor)Delve into the profound beauty of Herzliebster Jesu from the St. Matthew Passion with this high-resolution digital score. Specially crafted for male choirs in A minor, this musical gem enables your ensemble to explore the emotional depths of this composition with ease.**Why Choose This Digital Score?****Impeccable Quality:** Immerse yourselves in a high-resolution score that accentuates every musical nuance, ensuring a visually engaging experience for all male choir members.**Tailored for Lower Voices (TTBB):** This score is thoughtfully adapted for male choirs with lower voices (Tenor 1, Tenor 2, Baritone, Bass), providing a comfortable vocal range for each member to delve into the harmonies, enhancing accessibility and enjoyment.**Deep Emotional Atmosphere:** Herzliebster Jesu is renowned for its profound emotional resonance. Feel the intensity of passion and savor the beauty of melodies as your male choir breathes life into this masterpiece.**Convenient Digital Format:** Bid farewell to concerns about lost or damaged physical scores. The digital score's versatility facilitates easy sharing among male choir members, promoting efficient and collaborative preparation.**Ideal for Male Choral Performance:** Tuned in A minor, the score creates an optimal sonic environment for male choirs, allowing voices to harmonize powerfully and leaving a lasting impression on the audience.**Deep Musical Exploration:** Enable your male choir to explore the emotional nuances of St. Matthew's work with a score that illuminates harmonic and melodic complexities.**How to Acquire:**Seize the opportunity to enrich your male choral repertoire with the magnificent digital score of Herzliebster Jesu from the St. Matthew Passion. Elevate the expressiveness and musical quality of your male choir. Purchase now and embark on a unique emotional journey through the pages of this classical masterpiece.
$1.99
1.82 €
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Chorale TTBB
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Johann Sebastian Bach
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Alex E
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Herzliebster Jesu from St. Matthew Passion - for Men's Choir
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Müller Publishing company
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SheetMusicPlus
"Pajarillos Sonoros - Manuel de Sumaya - For Choir SSAT and Violins
Alto Voice,Soprano voice,Tenor Voice,Violin - Digital Download SKU: A0.1468245 By A…
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Alto Voice,Soprano voice,Tenor Voice,Violin - Digital Download SKU: A0.1468245 By Arturo Escorza. By Manuel de Sumaya. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Religious,Sacred. 34 pages. Arturo Escorza #1046559. Published by Arturo Escorza (A0.1468245). Pajarillos Sonoros, an unpublished work by the notable Baroque Novohispano composer Manuel de Sumaya for Choir SSAT and Violins. This piece, cataloged as 04-116 in the musical archive of the Cathedral of Guatemala, is a cantata for 4 voices with violins dedicated to the Virgin.Manuel de Sumaya (c. 1678-1755) was one of the most important composers of the Baroque period in Hispanic America, known for his innovative sacred music and influence on New Spanish. His work combines European tradition with local elements, creating a unique and rich fusion. He's the author of the first operas in North America.Features of the score:Full score: 26 pagesViolin parts: Violin 1 and Violin 2, 8 pagesVoices: Soprano 1, Soprano 2, Alto, and TenorUnfortunately, the basso continuo part is missing, so only the violin and vocal parts have been transcribed. This 106-bar piece is perfect for choirs and string ensembles looking to enrich their repertoire with historical and unique pieces.
$20.00
18.29 €
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Arturo Escorza
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Arturo Escorza
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"Pajarillos Sonoros - Manuel de Sumaya - For Choir SSAT and Violins
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Arturo Escorza
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SheetMusicPlus
Omnes Gentes Plaudite - Motet for 16-part Trombone Choir
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792525 Composed by Gio…
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792525 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and parts. 44 pages. Gordon Cherry #5008311. Published by Gordon Cherry (A0.792525). Omnes Gentes Plaudite by Giovanni is a 16-part vocal motet in 4 choirs that has been transcribed for Trombone choir by Russell McKinney. As with most of Gabrieli’s works, there is a stereophonic effect produced by separating the choirs in the hall. Each choir has its opportunity to sound the melody, followed by the others choirs, augmenting the previous effect even more. This 4-minute work is appropriate for advanced performers.
$27.50
25.15 €
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Giovanni Gabrieli
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Russell McKinney
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Omnes Gentes Plaudite - Motet for 16-part Trombone Choir
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Gordon Cherry
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SheetMusicPlus
Gloria In Excelsis Deo (SAB Choir Score)
Chorale 3 parties
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.725179 By Paul Barker Music…
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.725179 By Paul Barker Music. By Paul Barker. Baroque,Christmas,Contemporary,Contest,Easter,Festival. Octavo. 5 pages. Paul Barker Music #4803509. Published by Paul Barker Music (A0.725179). Hosanna In Excelsis Deo is a vibrant contemporary concert piece set to traditional Latin text for SAB Choir and Full Orchestra. Refreshing sequential melodic lines and rousing orchestration make this piece ideal for choirs and orchestras of all sizes and large public performances. The piece is designed to be very accessible to learn so suitable for youth and more advanced choirs and orchestras alike. Also available for SAB Choir & Keyboard and as spectacular instrumentals for both String Orchestra and Full Orchestra. Professional Accompaniment MP3 is available from this site and directly from www.paulbarkermusic.com ​Duration: 2:15 Level: Intermediate (UK Grade 5+ & USA 2+) Occasion: Concert - Festivals - Concert Finale - Celebration Orchestration: SAB Choir.
$2.25
2.06 €
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Chorale 3 parties
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Paul Barker Music
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Gloria In Excelsis Deo
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Paul Barker Music
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SheetMusicPlus
Hosanna In Excelsis Deo (SAB Choir/Piano)
Chorale 3 parties
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.725083 By Paul Barker Music…
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.725083 By Paul Barker Music. By Paul Barker. Baroque,Christmas,Contemporary,Contest,Festival,Sacred. Octavo. 13 pages. Paul Barker Music #2941707. Published by Paul Barker Music (A0.725083). Hosanna In Excelsis Deo is a vibrant contemporary concert piece set to traditional Latin text for SAB Choir and Keyboard accompaniment. Refreshing sequential melodic lines make this piece ideal for choirs of all sizes and performance occasions. The piece is designed to be very accessible to learn so suitable for both youth and more advanced choirs. Also available for Full Orchestra, String Orchestra or as a spectacular arrangement for SAB Choir and Full Orchestra. Professional Accompaniment MP3 is available from this site and directly from www.paulbarkermusic.com Duration: 2:40 Level: Intermediate (UK Grade 5+ & USA 2+) Occasion: Concert - Festivals - Concert Finale - Celebration Orchestration: SAB Choir - Keyboard
$2.25
2.06 €
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Chorale 3 parties
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Paul Barker Music
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Hosanna In Excelsis Deo
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Paul Barker Music
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SheetMusicPlus
Hosanna In Excelsis Deo (SAB Choir Score)
Chorale 3 parties
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.725177 By Paul Barker Music…
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.725177 By Paul Barker Music. By Paul Barker. Baroque,Christmas,Contemporary,Contest,Festival,Sacred. Octavo. 8 pages. Paul Barker Music #4803535. Published by Paul Barker Music (A0.725177). Hosanna In Excelsis Deo is a vibrant contemporary concert piece set to traditional Latin text for SAB Choir and Full Orchestra. Refreshing sequential melodic lines and rousing orchestration make this piece ideal for choirs and orchestras of all sizes and performance occasions. The piece is designed to be very accessible to learn so suitable for youth and more advanced choirs and orchestras alike. Also available for SAB Choir & Keyboard, String Orchestra and as a spectacular arrangement for Full Orchestra.Professional Accompaniment MP3 is available from this site and directly from www.paulbarkermusic.com Duration: 2:40 Level: Intermediate (UK Grade 5+ & USA 2+) Occasion: Concert - Festivals - Concert Finale - Celebration Orchestration: SAB Choir Vocal Score
$2.25
2.06 €
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Chorale 3 parties
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Paul Barker Music
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Hosanna In Excelsis Deo
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Paul Barker Music
#
SheetMusicPlus
Hosanna In Excelsis Deo (SAB Choir & Full Orchestra)
Large Ensemble,Strings B-Flat Clarinet,B-Flat Trumpet,Bassoon,Choir,Flute,Keyboard,Timpani…
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Large Ensemble,Strings B-Flat Clarinet,B-Flat Trumpet,Bassoon,Choir,Flute,Keyboard,Timpani,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.725085 By Paul Barker Music. By Paul Barker. Baroque,Christmas,Contemporary,Contest,Festival,Sacred. Score and parts. 58 pages. Paul Barker Music #2941693. Published by Paul Barker Music (A0.725085). Hosanna In Excelsis Deo is a vibrant contemporary concert piece set to traditional Latin text for SAB Choir and Full Orchestra. Refreshing sequential melodic lines and rousing orchestration make this piece ideal for choirs and orchestras of all sizes and performance occasions. The piece is designed to be very accessible to learn so suitable for youth and more advanced choirs and orchestras alike. Also available for SAB Choir & Keyboard, String Orchestra and as a spectacular arrangement for Full Orchestra. Includes Conductor Score, Choral Score and Instrumental Parts. Additional Vocal scores are available from this site and www.paulbarkermusic.com Professional Accompaniment MP3 is available from this site and directly from www.paulbarkermusic.com Duration: 2:40 Level: Intermediate (UK Grade 5+ & USA 2+) Occasion: Concert - Festivals - Concert Finale - Celebration Orchestration: SAB Choir - Full Orchestra
$32.95
30.14 €
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Paul Barker Music
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Hosanna In Excelsis Deo
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Paul Barker Music
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SheetMusicPlus
Danket dem Herren for Antiphonal Brass Choir
Ensemble de cuivres
Brass Band Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.81…
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Brass Band Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.817178 Composed by Heinrich Schutz. Arranged by Richard Decker. Baroque,Chamber,Historic,Multicultural,Renaissance,World. 64 pages. Charles Decker Music Press #6689647. Published by Charles Decker Music Press (A0.817178). Revered as one of the greatest German composers of the 17th century, Heinrich Schütz embraced his early studies with Giovanni Gabrieli and developed his own dramatic style of antiphonal music for voices and instruments.  Originally written for the centenary of the Reformation in 1617 to honor then Emperor Matthias and his family, this engaging composition translated as Praise the Lord for He is Kind was published in his Psalmen Davids (Op. 2) in 1619 and translates well four centuries later, giving today's brass choirs the opportunity to recreate those glorious antiphonal choir sounds of the early Baroque period.  Beyond brass ensemble concerts, consider adding some musical fireworks to your next band or orchestra concerts with this impressive and memorable showcase for your brass section.  Trumpet parts in B-flat and alternate C trumpet are provided. A recording of the entire transcription is included.See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$23.95
21.9 €
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Ensemble de cuivres
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Heinrich Schutz
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Richard Decker
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Danket dem Herren for Antiphonal Brass Choir
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Charles Decker Music Press
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giova…
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It 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, followed by a response from the group on the other. 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 rather 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. 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, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
43.85 €
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Ensemble de Flûtes
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gab…
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 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
43.85 €
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Ensemble de Flûtes
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
Violoncelle
Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by…
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Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. 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.
$47.95
43.85 €
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Violoncelle
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). 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.
$47.95
43.85 €
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.…
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. 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
43.85 €
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Ensemble de Flûtes
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gab…
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. 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.
$47.95
43.85 €
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Ensemble de Flûtes
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Gabrieli
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James M
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Trompette, Trombone (duo)
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Compos…
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst 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 WorksGabrieli 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 MusicAbove 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 WorksFinally, 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.HomophonyHence, 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
43.85 €
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Trompette, Trombone (duo)
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Giovanni Gabrieli
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James M
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1 Bass Trombone
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Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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jmsgu3
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SheetMusicPlus
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