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Mass - Score Only
Sheetmusic to print
26 sheet music found
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1
26
Kyrie (from Mass in G, D. 167)
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Classical
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Franz Schubert
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John Leavitt
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Kyrie
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Hal Leonard - Digital
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SheetMusicPlus
(Accompaniment Only) - Digital Download SKU: HX.378080 Composed by Franz Schubert. Arranged by John Leavitt. Concert. Choral. Duration 188. Published by ...
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(Accompaniment Only) - Digital Download SKU: HX.378080 Composed by Franz Schubert. Arranged by John Leavitt. Concert. Choral. Duration 188. Published by Hal Leonard - Digital (HX.378080).
$19.99
Gloria (from "Lord Nelson Mass")
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Classical
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Franz Joseph Haydn
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Russell L
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Gloria
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Hal Leonard - Digital
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SheetMusicPlus
Choral Accompaniment Only - Digital Download SKU: HX.694017 Composed by Franz Joseph Haydn. Arranged by Russell L. Robinson. Classical,Concert,Festival,L...
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Choral Accompaniment Only - Digital Download SKU: HX.694017 Composed by Franz Joseph Haydn. Arranged by Russell L. Robinson. Classical,Concert,Festival,Latin. Octavo. Duration 170. Hal Leonard - Digital #337231. Published by Hal Leonard - Digital (HX.694017).
$19.99
We've Only Just Begun
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Rock
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The Carpenters
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Frank Stubbs
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We've Only Just Begun
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Frank Stubbs
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SheetMusicPlus
Level 5 - Digital Download SKU: A0.985062 By The Carpenters. By Paul Williams and Roger Nichols. Arranged by Frank Stubbs. Pop,Rock. 17 pages. Frank Stub...
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Level 5 - Digital Download SKU: A0.985062 By The Carpenters. By Paul Williams and Roger Nichols. Arranged by Frank Stubbs. Pop,Rock. 17 pages. Frank Stubbs #6358101. Published by Frank Stubbs (A0.985062). He Carpenters massive hit, written by Paul Williams with lyrics by Roger Nichols, arranged for Brass QuintetA wedding and concert favourite with a faithful arrangement of The Carpenters version.
$15.99
Concert and Contest Collection for French Horn
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Concert and Contest Collection
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Rubank Publications
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SheetMusicPlus
Book with Online Media French Horn - Level 3-4 SKU: HL.4002520 Solo Book with Online Media. Edited by H. Voxman. Concert Band Method. Rubank Book/...
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Book with Online Media French Horn - Level 3-4 SKU: HL.4002520 Solo Book with Online Media. Edited by H. Voxman. Concert Band Method. Rubank Book/Audio Products. Classical, Contest, Solos. Softcover Media Online. 24 pages. Published by Rubank Publications (HL.4002520). ISBN 9781423477235. UPC: 884088111151. 9.0x12.0x0.09 inches.This top-rated collection of solo literature from the celebrated Rubank catalog is known by teachers and students everywhere. Each edition offers a superb variety of solos customized for that instrument. Most state solo/ensemble contest lists include several solos from this collection. In addition to the solo book, this item includes online access to: * Full-performance and accompaniment-only audio tracks * PDF piano accompaniment - download and print only what you need * PLAYBACK+ A multi-function audio player that allows you to adjust tempo without changing pitch, change keys, and create practice loops - available exclusively from Hal Leonard. Online audio/media is accessed at halleonard.com/mylibrary Contents: Allerseelen (R. Strauss) * Ballade (Ostransky) * Farewell Serenade (Herfurth) * La Chasse (Koepke) * Le Cor (The Horn) (Flegier) * Melodie (Lenom) * Nocturne from A Midsummer Night's Dream (Mendelssohn) * Prelude from Act III of Herodiade (Massenet) * Reverie, Op. 24 (Glazunov) * Romance, Op. 36 (Saint-Saens) * Romanza and Rondo from Concerto No. 4, K. 495 (Mozart) * Scherzo (Shelukov) * Two Outdoor Scenes (Ostransky) * Vocalise (Rachmaninoff). Also available: * Solo Book only (HL04471770) * Piano Accompaniment Book (HL04471780).
Song List
: Vocalise Nocturne(M/Sum.Ni.Dr.Mendelssohn Reverie F Horn Op.24 Glazounov Ballade (Ostransky) Farewell Serenade (Herfurth) La Chasse (Koepke) Le Cor (Flegier) Melodie (Lenom) Prelude(Herodiade - Massenet) Romanza & Rondo (Con No4) Mozart Scherzo (Shelukov) Two Outdoor Scenes (Ostransky) Allerseelen, Op. 10 (All Souls' Day) Romance, Op. 36
$16.99
Missa Papae Marcelli - III. Credo
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Giovanni Pierluigi da Palestri
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Andrew Jacobi
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Missa Papae Marcelli - III. Cr
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Andrew Jacobi
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SheetMusicPlus
Brass Band Baritone Horn TC,Euphonium,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1352044 Composed by Giovanni Pierluigi da Palestrina. Ar...
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Brass Band Baritone Horn TC,Euphonium,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1352044 Composed by Giovanni Pierluigi da Palestrina. Arranged by Andrew Jacobi. Renaissance,Sacred. 70 pages. Andrew Jacobi #936873. Published by Andrew Jacobi (A0.1352044). Missa Papae Marcelli, or Pope Marcellus Mass, is a by Giovanni Pierluigi da Palestrina. It is his best-known mass, and is regarded as an archetypal example of the complex polyphony championed by Palestrina. It was sung at the Papal Coronation Masses (the last being the coronation of Paul VI in 1963).The mass was composed in honor of Pope Marcellus II, who reigned for three weeks in 1555. Recent scholarship suggests the most likely date of composition is 1562, when it was copied into a manuscript at the Basilica di Santa Maria Maggiore in Rome.This arrangement for brass choir can be played only using the trumpet, trombone, and euphonium parts. Â The French horns are either doubled or cued at all times and the tuba doubles the euphonium where it plays.List of Parts:Trumpet 1Trumpet 2Trumpet 3Horn 1Horn 2Horn 3Horn 4Trombone 1Trombone 2Trombone 3EuphoniumBaritone T.C.Tuba.
$30.00
Concert and Contest Collections - French Horn (French Horn Solo Part)
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Concert and Contest Collection
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Rubank Publications
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SheetMusicPlus
French Horn in F - Solo Part French Horn - Grade 3-4 SKU: HL.4471770 Solo Book Only. Edited by H. Voxman. Concert Band Method. Rubank Solo Collect...
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French Horn in F - Solo Part French Horn - Grade 3-4 SKU: HL.4471770 Solo Book Only. Edited by H. Voxman. Concert Band Method. Rubank Solo Collection. Classical, Contest, Solos. Softcover. 24 pages. Rubank Publications #RUBL295A. Published by Rubank Publications (HL.4471770). ISBN 9781423445562. UPC: 073999717709. 9.0x12.0x0.086 inches.A top-rated collection of solo literature offering each instrument a variety that is simply superb. A very high percentage of the solos in these books are included on various state contest lists. Piano accompaniments published separately.
Song List
: Ballade (Ostransky) Farewell Serenade (Herfurth) La Chasse (Koepke) Le Cor (Flegier) Melodie (Lenom) Nocturne(M/Sum.Ni.Dr.Mendelssohn Prelude(Herodiade - Massenet) Romanza & Rondo (Con No4) Mozart Scherzo (Shelukov) Two Outdoor Scenes (Ostransky) Vocalise Allerseelen, Op. 10 (All Souls' Day) Reveries, Op. 24 Romance, Op. 36
$8.99
Lacrymosa by Mozart for Brass Quartet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for Brass
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Woods Only, Arrangements
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SheetMusicPlus
Brass Quartet - Level 2 - Digital Download SKU: A0.1409488 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Chamber,Christian,Classical,Easter,Rel...
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Brass Quartet - Level 2 - Digital Download SKU: A0.1409488 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Chamber,Christian,Classical,Easter,Religious. 7 pages. Woods Only, Arrangements #992118. Published by Woods Only, Arrangements (A0.1409488). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for Brass Quartet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quartet.
$7.99
Lacrymosa by Mozart for String Quintet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for String
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Woods Only, Arrangements
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SheetMusicPlus
String Quintet - Level 2 - Digital Download SKU: A0.1282447 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious....
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String Quintet - Level 2 - Digital Download SKU: A0.1282447 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious. 8 pages. Woods Only, Arrangements #873758. Published by Woods Only, Arrangements (A0.1282447). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for String Quintet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quintet.
$9.99
Lacrymosa by Mozart for Violin Quintet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for Violin
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Woods Only, Arrangements
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SheetMusicPlus
String Quintet Violin - Level 2 - Digital Download SKU: A0.1282449 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Rel...
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String Quintet Violin - Level 2 - Digital Download SKU: A0.1282449 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious. 8 pages. Woods Only, Arrangements #873760. Published by Woods Only, Arrangements (A0.1282449). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for Violin Quintet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quintet.
$9.99
Lacrymosa by Mozart for Viola Quintet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for Viola
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Woods Only, Arrangements
#
SheetMusicPlus
String Quintet Viola - Level 2 - Digital Download SKU: A0.1282451 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Reli...
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String Quintet Viola - Level 2 - Digital Download SKU: A0.1282451 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious. 8 pages. Woods Only, Arrangements #873763. Published by Woods Only, Arrangements (A0.1282451). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for Viola Quintet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quintet.
$9.99
Lacrymosa by Mozart for Cello Quintet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for Cello
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Woods Only, Arrangements
#
SheetMusicPlus
String Quintet Cello - Level 2 - Digital Download SKU: A0.1282453 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Reli...
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String Quintet Cello - Level 2 - Digital Download SKU: A0.1282453 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious. 8 pages. Woods Only, Arrangements #873765. Published by Woods Only, Arrangements (A0.1282453). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for Violoncello Quintet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quintet.
$9.99
Lacrymosa by Mozart for Trombone Quintet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for Trombo
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Woods Only, Arrangements
#
SheetMusicPlus
Trombone Quintet - Level 2 - Digital Download SKU: A0.1287991 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religiou...
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Trombone Quintet - Level 2 - Digital Download SKU: A0.1287991 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious. 8 pages. Woods Only, Arrangements #879028. Published by Woods Only, Arrangements (A0.1287991). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for Trombone Quintet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quintet.
$9.99
Lacrymosa by Mozart for Tuba Quintet
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Classical
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Wolfgang Amadeus Mozart
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Ander
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Lacrymosa by Mozart for Tuba Q
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Woods Only, Arrangements
#
SheetMusicPlus
Low Brass Quintet,Tuba - Level 2 - Digital Download SKU: A0.1287998 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Re...
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Low Brass Quintet,Tuba - Level 2 - Digital Download SKU: A0.1287998 Composed by Wolfgang Amadeus Mozart. Arranged by Ander. Christian,Classical,Easter,Religious. 8 pages. Woods Only, Arrangements #879033. Published by Woods Only, Arrangements (A0.1287998). Introducing the sheet music for Lacrymosa from the Requiem Mass (Missa pro defunctis), K. 626, by Wolfgang Amadeus Mozart, for Tuba Quintet. This sheet music maintains the entire original structure of the work, without reductions in duration and the like, with only the reduction of the ensemble being made. This arrangement is intended for performance groups that already have experience in musical performance, but can also be used as teaching material for music students, and can be used in academic recitals, concerts and ceremonies, catering to various groups of varied tastes. The Requiem in D minor (K. 626) is a requiem mass by Austrian composer Wolfgang Amadeus Mozart from 17911. Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. This sheet music is a unique opportunity to experience Mozart’s genius in an arrangement for quintet.
$9.99
Playing with Scales
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Richard Hirsch
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Playing with Scales
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Richard Hirsch
#
SheetMusicPlus
Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Pu...
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Guitar - Level 2 - Digital Download SKU: A0.1314698 Composed by Richard Hirsch. Instructional. Educational Exercises. 8 pages. Richard Hirsch #903442. Published by Richard Hirsch (A0.1314698). Many amateur guitarists and beginning students of guitar are ‘stuck in the first position’. The rest of the fretboard is ‘terra incognita’. They don’t know where the notes are and they don’t know how to get to them and use them in playing melodies. To help remedy this situation, I offer a collection of scales and exercises I have developed over the years that have helped me master the fretboard of the guitar and that I have used to warm up my left and right hands before practicing or playing proper pieces. Guitarists afraid to move up the fretboard miss out on all the tonal nuances that the guitar has to offer. They also often have undeveloped left hand technique with a little finger that flies around helplessly and uselessly. These scales and exercises will, if played regularly, put the little finger to good use and guide the left hand to orient to the fretboard properly, staying close to the fretboard with fingers that move as little and as efficiently as possible. They are also relaxing and fun to play around with. I read somewhere a while back that medical science had found that pianists were less likely to develop brain diseases. The scientists attributed this to the many hours pianists spend playing scales, as this is like a gentle brain massage. So scales are not only good warm up exercises for the fingers but also good warm-ups for the brain.The scale exercises written here in the keys of G and C should be played in different keys in higher positions on the fretboard. Students can try to see just how far up the neck they can go to reach the highest notes. After a while, what seemed challenging and strange will start to feel comfortable and familiar. Don’t hesitate to develop new variants of the scales when you grow tired of playing them as I propose here. Have fun playing and playing with the scales!The exercises often start in one position and move toward other higher or lower positions on the fretboard. When moving from one position to another, follow the suggested fingerings to utilise what is called a lead finger to move the hand to the next position. This will make the movement smooth and not interrupt the flow of the scale. In the end all movement should look and feel seamless and effortless.I have chosen scales in major keys I think are particularly good to play on the guitar. To practice a scale in a minor key, start the exercise in the related major key from the fundamental of the minor key, for example, to play an E minor scale start the G major exercise on an E and play from there. This is one way of creating new variants of these scales. Another way to vary the exercises is to play the scales in different time signatures or rhythms.I believe these exercises are particularly helpful for amateur guitarists who play in ensembles of different kinds, duos, trios, quartets, where the guitarist often only has one melodic line to play. Such melodies often sound much better played in higher positions where the guitar can be made to sing, rather than in the first position where the same tones, especially on open strings, often sound rather dull. From my own experience, I find that when I play a melody in a higher position using all the fingers of the left hand, the melody not only sounds better, the fingers remember the melody better.Â
$4.99
Twelve Hymn Preludes and Offertories for 4-part Brass Ensemble, Volume 2
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Various
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Ran Whitley
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Twelve Hymn Preludes and Offer
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Gordon Cherry
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SheetMusicPlus
Brass Quartet Baritone Horn TC,Euphonium,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1409469 Composed by Various. Arranged by Ran Whitley....
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Brass Quartet Baritone Horn TC,Euphonium,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1409469 Composed by Various. Arranged by Ran Whitley. Christian,Easter,Praise & Worship,Religious,Spiritual. 157 pages. Gordon Cherry #992098. Published by Gordon Cherry (A0.1409469). Ran Whitley has compiled and beautifully arranged Twelve Hymn Preludes and Offertories for 4-part Brass Ensemble (Just FOUR Brass), Volume 2. These beautiful hymns are playable by most performers of intermediate level and higher. Each hymn is a complete arrangement on its own. The entire collection of twelve hymns contains almost 40 minutes of music of glorious Christian music appropriate for many different occasions.The twelve hymns from Volume 2 are amongst the most famous of the Christian liturgy:1. Come, Thou of Every Blessing2. Only Trust Him3. Morning Has Broken4. Come, Ye Thankful People, Come5. Sweet Hour of Prayer6. Lift Every Voice and Sing7. Come, Christians, Join to Sing8. The Lone, Wild Bird9. Christian Hearts in Love United10. Thine Is the Glory11. Mine Eyes Have Seen the Glory12. My Country, 'Tis of TheeInstrumentation for the quartet is for 2 Trumpets in B-flat and two Trombones. There are 4 substitute parts for parts 2 and 3 in B-flat treble and for F Horn, plus a Tuba part 8ba on the 4th part. You can perform these works with a massed brass ensemble very successfully.Optional repeats are included for congregational singing.
$30.00
Paranoid
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Black Sabbath
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Sarah Cellobat Chaffee
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Paranoid
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Sarah Cellobat Chaffee
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SheetMusicPlus
String Ensemble Cello - Level 4 - Digital Download SKU: A0.1250789 By Black Sabbath. By John Osbourne, Terence Butler, Tony Iommi, and William Ward. Arra...
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String Ensemble Cello - Level 4 - Digital Download SKU: A0.1250789 By Black Sabbath. By John Osbourne, Terence Butler, Tony Iommi, and William Ward. Arranged by Sarah Cellobat Chaffee. Contemporary,Rock. 26 pages. Sarah Cellobat Chaffee #845054. Published by Sarah Cellobat Chaffee (A0.1250789). *INSTRUMENTATION: 4 CELLOS*Although Black Sabbath reportedly wrote the song as an afterthought in about 20 minutes just to have something to add to their second studio album, Paranoid immediately became a massive hit, reaching number 4 on the UK charts and remaining the band's only top ten hit to this day. Ranked #1 on VH1's 40 Greatest Metal Songs of All Time, this song is an instantly recognizable heavy metal classic, and now you can have fun rocking out to it with your cello buddies! This Cellobat arrangement for cello quartet is just as hard-hitting as the original, with epic vocal lines, powerful harmonies, a driving rock beat, and even a fun guitar solo. I guarantee your group will have a blast! Cello 1 and 2 are rated advanced-intermediate for some tenor clef and the epic guitar solo that goes by pretty fast; cello 3 and 4 are more of an intermediate level. This arrangement will be learnable for students and sightreadable for professionals.Sarah “Cellobat†Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their “Deuces Are Wild†residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perrico’s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, Mötley Crüe, Celine Dion, Halsey, Michael Bublé, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.
$16.99
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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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
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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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
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
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Giovanni 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
String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renai...
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String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.  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 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
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP....
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli 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 particular 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 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.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. 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 WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized 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 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 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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. 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.
$47.95
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP....
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli 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 instead 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 particular 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 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.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. 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 sound perfectly in balance in contrast.First WorksFinally, 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 shown 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 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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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 per Sonar à
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP....
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.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
That Which Binds Us (Theme and Variations) for Brass Band
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Contemporary
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Brian Balmages
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Benjamin (Benthoven) Lau
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That Which Binds Us
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BenthovenMusic Publications
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - Digital Download SKU: A0.977645 Composed by Brian Balmages. Arranged by Benjamin (Benthoven) Lau. Contemporary. Brass Band. 90 pages. BenthovenMusic Publications #6612801. Published by BenthovenMusic Publications (A0.977645). That Which Binds Us (Theme and Variations) for Brass BandOriginally Composed by Brian Balmages, Adapted by Benjamin LauLevel of Difficulty: Grade 3.5Program Notes:Centered around the various stages of grief, the music cleverly uses theme and variations to take the audience on a roller coaster of emotions. From the everyday norm to moments of grief, anger, sorrow and acceptance, the powerful musical lines eventually lead into a massive ending reminiscent of Stravinsky’s Firebird. Epic in every sense of the word. This piece originally written for concert band by Brian Balmages has been adapted for brass band and percussion by BenthovenMusic. The percussion section has been reduced to only 4 players for the appropriate brass band setup, and it gives room for the brass to show a little bit more. The combination of exciting fast moments with slow and quiet playing makes this an excellent choice as a major work for brass band competitions in the mid-level section.Instrumentation:- Soprano Cornet- Solo Cornet 1, 2- Solo Cornet 3, 4- Repiano Cornet- 2nd Cornet- 3rd Cornet- Flugel- Solo Horn- 1st Horn- 2nd Horn- 1st Baritone- 2nd Baritone- 1st Trombone- 2nd Trombone- Bass Trombone- Euphonium- Eb Bass- Bb Bass- Timpani- Percussion 1 (Bells, Chimes)- Percussion 2 (Vibraphone)- Percussion 3 (Drum Set)
$70.00
Dancing Queen
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ABBA
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Kevin P Holdgate
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Dancing Queen
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Kevin P Holdgate
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 2 - Digital Download SKU: A0.1351795 By ABBA. By Benny Andersson, Bjorn Ulvaeus, and Stig Anderson. Arranged by Kevin P Holdgate. 20th Century,Disco,Film/TV,Pop,Standards. Brass Band. 34 pages. Kevin P Holdgate #936625. Published by Kevin P Holdgate (A0.1351795). Dancing Queen is a Europop and disco song by the Swedish group ABBA, released as the lead single from their fourth studio album, Arrival (1976). It was written by Benny Andersson, Björn Ulvaeus and Stig Anderson.Andersson and Ulvaeus also produced the song. Dancing Queen was released as a single in Sweden on 16 August 1976, followed by a UK release and the rest of Europe a few days later.It was a worldwide hit. It became ABBA's only number one hit in the United States, and topped the charts in Australia, Canada, Denmark, the Netherlands, Belgium, Czechoslovakia, Ireland, Mexico, New Zealand, Norway, South Africa, Spain, Sweden, the United Kingdom, West Germany and the Soviet Union. Dancing Queen also reached the top five in many other countries.Famously used in the hit movie 'Mamma Mia' this arrangement for brass band has been a massive hit with audiences whenever we have performed it with my band. Yes its 'Cheese' but it gets the audience singing along, and up and dancing during our regular outdoor summer concerts. Simple and accessible, and most important of all reasonably priced. This arrangement is playable by all standards of british style brass bands.Â
$24.99
Knights Of The Round Table
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Graham Chapman, John Cleese, a
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Jorijn van Hese
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Knights Of The Round Table
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Jorijn van Hese
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SheetMusicPlus
Brass Quintet Cornet,Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1416837 Composed by Graham Chapman, John Cleese, and Neil ...
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Brass Quintet Cornet,Euphonium,Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1416837 Composed by Graham Chapman, John Cleese, and Neil Innes. Arranged by Jorijn van Hese. Comedy,Film/TV. 13 pages. Jorijn van Hese #998432. Published by Jorijn van Hese (A0.1416837). For Brass QuintetMassure 3 to 6 in D is a Fun Tapdance Element for the Trombone player :)Tet it be a big brass party** Only Euphonium Ensemble recording available.
$15.00
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