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ACCORDEON
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PIANO & CLAVIERS
Piano Quatuor: piano, violon, alto, violoncelle
52
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31
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28
Orgue
23
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5
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4
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7
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2
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2
Basse electrique
1
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1
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6
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1
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297
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189
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186
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183
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147
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145
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145
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143
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117
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117
Cor anglais, Piano
99
Clarinette
88
2 Hautbois (duo)
58
Quatuor de Saxophones: 4 saxophones
35
3 Clarinettes (trio)
26
3 Saxophones (trio)
20
Ensemble de Flûtes
15
2 Cors Anglais Et Pianoforte
14
Trio de Flûtes: 3 flûtes
14
Hautbois, Basson (duo)
13
Flûte, Violoncelle
12
Clarinette, Violoncelle (duo)
12
Piccolo, Piano
12
Quatuor de Clarinettes: 4 clarinettes
9
Clarinette, Harpe (duo)
8
Hautbois, Harpe
8
Ensemble de Clarinettes
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
Quatuor de Flûtes : 4 flûtes
6
Hautbois, Violoncelle
6
Flûte, Alto (duo)
4
Flûte, Hautbois (duo)
4
Flûte traversière
4
Flûte, Clarinette (duo)
3
Saxophone et violoncelle
3
Flûte à bec Alto, Piano
3
Flûte, Hautbois, Clarinette, Basson
3
Ensemble de saxophones
3
Flûte à Bec, Piano
3
Saxophone et Harpe
2
Saxophone, Basson (duo)
2
Saxophone Alto
2
Flûte, Violon et Violoncelle
2
Clarinette Basse
2
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2
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2
Cor anglais et Harpe (duo)
2
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1
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1
2 Hautbois, Piano
1
Flûte à bec Soprano, Piano
1
Hautbois
1
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1
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1
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1
Saxophone Soprano
1
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1
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1
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1
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1
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115
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115
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99
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83
2 Cors (duo)
60
Tuba et Piano
56
Trompette
44
2 Trombones (duo)
41
2 Euphoniums (duo)
36
2 Trompettes (duo)
36
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
2 Tubas (duo)
15
2 Cors Anglais Et Pianoforte
14
Cor, Violoncelle (duo)
5
3 Trombones (trio)
5
Trio de Cuivres
5
Trompette, Trombone (duo)
5
Cor
5
Euphonium, Tuba (duo)
4
Ensemble de Trombones
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Tuba et Orgue
3
Quatuor de cuivres: 4 trombones
3
Euphonium
2
Trombone basse et Piano
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Tuba
2
Cor anglais et Harpe (duo)
2
Trombone, Tuba (duo)
2
Trombone basse
1
3 Cors (trio)
1
Quatuor de cuivres: 4 cors
1
Trompette, Tuba (duo)
1
Trompette, Violoncelle (duo)
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
275
Violon et Piano
180
Violoncelle, Piano
163
Alto, Piano
155
Trio à Cordes: violon, alto, violoncelle
96
2 Violoncelles (duo)
66
2 Violons (duo)
62
2 Altos (duo)
61
Violon, Violoncelle (duo)
22
2 Contrebasses (duo)
16
Alto, Violoncelle (duo)
15
Violon, Alto (duo)
14
Harpe, Flûte (duo)
13
Harpe
13
Violoncelle (partie séparée)
12
Harpe, Violon (duo)
8
Violoncelle
8
Violon
7
Trio à cordes
5
4 Violoncelles
4
Trio à Cordes: 3 violoncelles
4
Violoncelle, Contrebasse (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
Harpe, Violoncelle (duo)
3
Quatuor à cordes : 4 altos
2
Alto et Harpe
2
Alto seul
2
Ensemble de Violoncelles
2
Contrebasse, Piano (duo)
1
Alto (partie séparée)
1
Violon, Orgue
1
Violoncelle, Orgue
1
Trio à Cordes: 2 violons, alto
1
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
97
Ensemble de cuivres
23
Orchestre d'harmonie
13
Orchestre de chambre
9
Orchestre
8
Cloches
4
Vibraphone
1
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AUTRES
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jmsgu3
Ensemble de Clarinettes
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Bach: Jesu, Joy of Man's Desiring for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.548650 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.548650 Composed by J. S. Bach, 1685 - 1750. Arranged by James M. Guthrie, ASCAP. Christmas,Easter,Wedding. 32 pages. Jmsgu3 #3407883. Published by jmsgu3 (A0.548650). Jesu, Joy of Man's Desiring from Bach's Cantata 147, arranged for the clarinet choir.1 Eb Clarinet3 Bb Clarinets1 Alto Clarinet1 Bass Clarinet1 Contrabass ClarinetScore: 18 pg. Parts: 2 pg. Duration: 5:00 with optional repeat. Jesu, Joy of Manâs Desiring Bach composed a cantata called Herz und Mund und Tat und Leben. Though it is the 32nd cantata, it is listed as BWV 147. Jesu, Joy of Manâs Desiring is the 10th movement of the cantata. It was customary to use previous melodies as a basis for a new work - a practice called Cantus prius factus. So, the chorale melody for this piece is a historic tune called Werde munter, mein Gemüthe. Jesu, Joy of Manâs Desiring is customarily performed at weddings and during major church seasons such as Easter and Christmas. Bach Overview First, Johann Sebastian Bach may be the greatest composer in music history. Indeed, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. People are probably most familiar with instrumental works such as the Brandenburg Concertos and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. His most famous vocal works seem to include the most noteworthy Mass in B Minor. Also, the St. John Passion and certainly the Christmas Oratorio are the most noteworthy.  History Bach came from a long line of musicians and, above all, composers. Consequently, he first pursued a career as a church organist. As a result, he gained employment in various Protestant churches in Germany. He worked as a court musician in Weimar and Köthen for a while. Here he probably developed his organ style and, likewise, his chamber music style. Eventually, he gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as court composer.  Style It seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. This new style was probably his synthesis of European musical rhythm and form. Furthermore, in addition to his complete mastery of counterpoint and motivic development, his sense of harmonic organization probably propelled him to the top. Revival        Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bachâs works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will use an S (Schmieder) as an abbreviation for BWV.
$49.95
46.6 €
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Ensemble de Clarinettes
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J
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James M
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Bach: Jesu, Joy of Man's Desiring for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 2 - Digital Download SKU: A0.549193 Composed by …
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Woodwind Ensemble Clarinet - Level 2 - Digital Download SKU: A0.549193 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457489. Published by jmsgu3 (A0.549193). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 1 Eb Clarinet, 5 Bb Clarinets, 1 alto clarinet, 2 bass clarinets
$29.95
27.94 €
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Ensemble de Clarinettes
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136 for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. 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 â or was rather the first to indicate them such as in his Sonata Pianâ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâs 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 â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.74 €
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Ensemble de Clarinettes
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation: Â 8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. 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 â or was rather the first to indicate them such as in his Sonata Pianâ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather 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 Gabrieliâs 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 â which calls Sinfonia â and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
44.74 €
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Ensemble de Clarinettes
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Mouton: Christmas Motet for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 2 - Digital Download SKU: A0.550373 Composed by …
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Woodwind Ensemble Clarinet - Level 2 - Digital Download SKU: A0.550373 Composed by Jean Mouton. Arranged by James M. Guthrie. Christmas,Concert,Renaissance,Sacred,Standards. 25 pages. Jmsgu3 #4616085. Published by jmsgu3 (A0.550373). Nesciens mater virgo virum. A quadruple canon at the fifth. Duration: ca. 3:00. Score: 7 pages, parts 2 pagegs each. Instrumentation: 6 Bb clarinets, 1 alto clarinet, 1 bass clarinet, 1 contrabass clarinet (optional).
$49.95
46.6 €
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Ensemble de Clarinettes
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Jean Mouton
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James M
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Mouton: Christmas Motet for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Scarlatti: Andante mosso for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.550386 Composed by Domenico …
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.550386 Composed by Domenico Scarlatti. Arranged by James M. Guthrie. Baroque,Concert,Easter,Sacred,Standards. 14 pages. Jmsgu3 #4626789. Published by jmsgu3 (A0.550386). Sonata 33 for Clarinet Choir - an unusually expressive, intricate, serious and meditative piece. Perfect for weddings, receptions, meditations, recitals or recital encores.Score: 7 pages. Duration: ca 6:38. Instrumentation: 4 Bb Clarinets, 2 Alto Clarinets, 1 Bass Clarinet.
$29.95
27.94 €
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Ensemble de Clarinettes
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Domenico Scarlatti
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James M
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Scarlatti: Andante mosso for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Beethoven: Three Equali WoO 30 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 2 - Digital Download SKU: A0.551800 Composed by …
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Woodwind Ensemble Clarinet - Level 2 - Digital Download SKU: A0.551800 Composed by Ludwig van Beethoven. Arranged by James Guthrie, ASCAP. Christian,Classical,Concert,Contemporary,Standards. 19 pages. Jmsgu3 #5722107. Published by jmsgu3 (A0.551800). Three Equali, WoO 30. Score: 9 pages, duration: ca. 4:15Commissioned in 1812 by Franz Xaver Glöggl, Stadtkapellmeister of Linz. Intended as tower music for All Souls' Day, they were first performed at the Old Linz Cathedral on 2 November 1812. Equals 1 & 3 were performed at Beethoven's funeral on 29 March 1827.Originally scored for trombone quartet
$29.95
27.94 €
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Ensemble de Clarinettes
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Ludwig van Beethoven
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James Guthrie, ASCAP
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Beethoven: Three Equali WoO 30 for Clarinet Choir
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jmsgu3
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SheetMusicPlus
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