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Accompaniment, instruments: C Instrument
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Brass Quartet: 2 trumpets, horn, trombone
Sheetmusic to print
2 sheet music found
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Jesus Christ is Risen Today with Ye Watchers and Ye Holy Ones-Brass Trio-Bb Tpt., Horn in F, Trb.
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Sacred music
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Athelstan Riley, Cologne Kirch
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Cathy Stamegna
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Jesus Christ is Risen Today wi
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Cathy Stamegna
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.780603 Composed by Athelstan Riley, Cologne Kirchengasänge, and Lyra Davidic...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.780603 Composed by Athelstan Riley, Cologne Kirchengasänge, and Lyra Davidica. Arranged by Cathy Stamegna. Easter,Praise & Worship,Sacred,Traditional. Score and parts. 15 pages. Cathy Stamegna #5033445. Published by Cathy Stamegna (A0.780603). Jesus Christ is Risen Today with Ye Watchers and Ye Holy Ones - Brass Trio (Bb Trumpet, Horn in F, Trombone) with Optional Bb Trumpet or C Instrument, Keyboard Accompaniment begins with Jesus Christ is Risen Today. The optional instrument enters in verse two with a hint of Ye Watchers and Ye Holy Ones. The trio continues with parts of Ye Watchers and Ye Holy Ones which serve as a bridge between Verse two and the end of the piece. The last section incorporates Alleluias from both hymns for a Glorious ending. If including the Optional Bb trumpet or C instrument in your performance, Keyboard Accompaniment is optional. Set of Parts.  Other vocal/instrumental arrangements available.  Performance Time: 3:00
$6.99
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12
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jmsgu3
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli 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 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
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