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Between Times for clarinet, viola and piano
Instrumental Duet,Piano Clarinet,Instrumental Duet,Piano,Viola - Level 5 - Digital Downloa…
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Instrumental Duet,Piano Clarinet,Instrumental Duet,Piano,Viola - Level 5 - Digital Download SKU: A0.886685 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 52 pages. Panagiotis Theodossiou #3573129. Published by Panagiotis Theodossiou (A0.886685). Between Times Time past and time future... for clarinet, viola and piano (2017) op.73Work written within the framework of composer's postgraduate studies on Composition for Vocal and Instrumental Ensembles in Ionian university and dedicated to the professor Josef Papadatos. Based on an excerpt from the Four Quartets by T.S.Eliot is polystilistic in idiom and in concertante style. Time present and time past Are both perhaps present in time future And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. (T.S.Eliot, Four Quartets)Τα μÎÏη:I.Adagio misterioso (Outer Space, Gravity Zero)II.Allegro (Into a time vortex)III.L'istesso tempo (Escape) to Antonio Vivaldi & Dmitri ShostakovitchIV.Andante rubato (Tranquillity Nebula) to Olivier MessiaenV.Allegro (Gravitational Disorder) to Keith EmersonVI.Adagio misterioso (Eternal Present)Premier by Ionian Islands Festival Ensemble (Alexandros Michailidis, Helias Sdoukos, Stefanos Nassos) at Ionian Academy Theater in 2017.The work was chosen by International Society for the Contemporary Music to represent Greece in 2018 ISCM World New Music Days in BeijingModern Music Festival, China. Performance by Trio Clavino (Doris Hall - Gulati, Simon Maurer, Xun Pan).
$30.00
27.64 €
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Panagiotis Theodossiou
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Dmitri Shostakovitch
IV
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Between Times for clarinet, viola and piano
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Panagiotis Theodossiou
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SheetMusicPlus
Seven Days Without Prayer
Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - Digital Download…
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Drum Set,Electric Bass Guitar,Piano Accompaniment,Synthesizer - Level 4 - Digital Download SKU: A0.1105114 By David Kai. By David Kai. Arranged by David Kai. Christian,Contemporary,Jazz,Rock. Full Performance. Duration 199. David Kai #708361. Published by David Kai (A0.1105114). The title for this song came from a plaque that I saw in a Christian book store. Jesus’ teachings about prayer from Matthew 7 or Luke 11 were also an inspiration. This song was first recorded by the Sellwoods gospel group. Seven Days Without Prayer words and music by David Kai ©1980 It’s a world where we depend on communication Through the wires and through the air information flows It’s an age where thoughts and words can cross the ocean It’s a shrinking world, but the space between us grows Though we talk to one another, there’s something missing We still need to speak from the soul, not just the mind We still need the oldest form of communication It’s available for free at any time The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak If a child should ask its father for bread and fishes Would that child receive a stone or a snake in its place? No, and if even earthly fathers will bless their children Won’t the heavenly Father bless and give you grace? So if you knock upon the door it will be opened If you speak unto the Lord you will be heard Look to Jesus, you will not be disappointed You will find he’s always faithful to his word The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak The lines are open, why not send in a call? The Lord is waiting, just to hear from you all So just take some time for praying, God would love to hear you speak You know seven days without prayer makes one weak Makes one weak.
$1.99
1.83 €
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David Kai
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Seven Days Without Prayer
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David Kai
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SheetMusicPlus
How Long We Wait (Downloadable)
SATB/SATB choir divisi, oboe - Moderately Difficult - Digital Download SKU: MQ.8188-E
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SATB/SATB choir divisi, oboe - Moderately Difficult - Digital Download SKU: MQ.8188-E Composed by Frank Ferko. Advent. Score & instrument part. 19 pages. E. C. Schirmer Music Company - Digital #8188-E. Published by E. C. Schirmer Music Company - Digital (MQ.8188-E). English.This work was composed for a large choral ensemble of approximately 90 voices with the capability of dividing into two choirs. The division that actually does occur in this piece is an “internal†division rather than an “external†one. Therefore, it is not necessary for the singers to be physically divided into two separate groups with a space between them, but rather, the singers may remain in their usual arrangement in the chorus and sing the double chorus section with the effect of an internal, reflective type of sound rather than the more commonly used antiphonal sound with a spatial effect created by physical separation of the two choruses. Based on a poem by Thomas Merton, the text speaks of the anticipation of events yet to be fulfilled. In more specific terms, the poem is an Advent poem which heralds of the birth of Jesus through the use of texts from biblical arables and from other Gospel narratives combined with images of everyday experiences, such as church bells, birds, water, and the fields and trees that were familiar to Merton’s Trappist community. Oboe part included in score.
$3.40
3.13 €
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Frank Ferko
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How Long We Wait
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
The Lord's Prayer-vocal solo/piano
Small Ensemble Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.844573 Compos…
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Small Ensemble Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.844573 Composed by Phil Beaman. 20th Century,Praise & Worship,Sacred,Wedding. Score. 4 pages. Phil Beaman #3907347. Published by Phil Beaman (A0.844573). An original new setting of The Lord's Prayer. I have also done some editing of the original text to bring out my own emphasis. This composition is Contemporary Classical and/or Neo-Romantic, modernizing music of both genres. Each musical line has changing feelings and styles to enhance the text leaving contemplative space between lines. This piece sets a powerful prayerful mood. The voice part has a range of just one octave, from Middle C to Upper C, thus making it accessible for Soprano solo, Alto solo, Tenor solo, or Bass solo. Voice level is Early Intermediate while piano accompaniment is of Intermediate level difficulty.3:30 minutes, 4 pages
$4.99
4.6 €
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Phil Beaman
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The Lord's Prayer-vocal solo/piano
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Phil Beaman
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SheetMusicPlus
Just Another Birthday Song - Swing Edition - Playalong
Piano,Voice - Level 3 - Digital Download SKU: A0.1072043 Composed by Phil Thrift. J…
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Piano,Voice - Level 3 - Digital Download SKU: A0.1072043 Composed by Phil Thrift. Jazz. Accompaniment. Duration 154. Phil Thrift #5805787. Published by Phil Thrift (A0.1072043). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song – Swing Edition might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song – Swing Edition gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Available separately:Sheet music for solo voice and piano (swing version)
$2.99
2.75 €
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Phil Thrift
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Just Another Birthday Song - Swing Edition - Playalong
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Phil Thrift
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SheetMusicPlus
Just Another Birthday Song - Playalong
Piano,Voice - Level 3 - Digital Download SKU: A0.1072042 Composed by Phil Thrift. P…
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Piano,Voice - Level 3 - Digital Download SKU: A0.1072042 Composed by Phil Thrift. Pop. Accompaniment. Duration 154. Phil Thrift #5805785. Published by Phil Thrift (A0.1072042). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! Optional harmony notes are also included for use with more than one singer. The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Available separately:Sheet music for solo voice and piano (with optional 2-part harmony) (A0.955730 or 1051903)
$2.99
2.75 €
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Phil Thrift
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Just Another Birthday Song - Playalong
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Phil Thrift
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SheetMusicPlus
Coronation (Downloadable)
Brass quintet, timpani, organ - Moderately Easy - Digital Download SKU: MQ.21-402-E…
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Brass quintet, timpani, organ - Moderately Easy - Digital Download SKU: MQ.21-402-E Composed by Jeremy J. Bankson. Easter, Reign of Christ. MorningStar Music Publishers - Digital Sheet Music #21-402-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.21-402-E). CORONATION The introduction has the brass playing fanfare passages spaced between the organ playing each phrase of the hymn. Three verse settings follow with the fanfare motifs continuing, then a short fanfare interlude and a concluding final verse. A timpani player and one cymbal player (both suspended and crash) could add to the fun.
$30.00
27.64 €
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Jeremy J
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Coronation
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MorningStar Music Publishers - Digital Sheet Music
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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
44.17 €
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Giovanni Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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jmsgu3
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SheetMusicPlus
Corant - trio- flute/clarinet/cello
Cello,Clarinet,Flute - Digital Download SKU: A0.1393780 Composed by Jean-Baptiste L…
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Cello,Clarinet,Flute - Digital Download SKU: A0.1393780 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977252. Published by Phil Beaman (A0.1393780). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Flute - second space Ab to high F above staffClarinet - bottom space F# to high C above staffCello - low C below staff to high E above staffrecording is of Flute-Oboe-Cello version, with Clarinet subbing for the Oboe part.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- flute/clarinet/cello
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Phil Beaman
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SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged …
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and 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
44.17 €
#
Giovvanni Gabrieli
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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jmsgu3
#
SheetMusicPlus
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199…
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and 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. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
44.17 €
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Giovanni Gabrieli
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Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Revelation - an original hymn
Small Ensemble - Level 4 - Digital Download SKU: A0.701806 Composed by Kevin G. Pac…
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Small Ensemble - Level 4 - Digital Download SKU: A0.701806 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Score and parts. 4 pages. Kevin G. Pace #3478101. Published by Kevin G. Pace (A0.701806). An original hymn with text by Kathryn Hales below.YouTube video: https://youtu.be/n9CtBcR21ts Revelation is the removal of the veil Between God and mortal man. He parts the heavenly curtain to share His will, revealing what He can. To each may be given answers or direction, Comfort, warning or protection, Hoping we will choose his Divine Plan. Through a prophet He speaks to all mankind Spanning distance, time, and space so wide, Establishing truth through commandments That we may in Him abide. Power to overcome temptations, Comes by heeding revelations, That we may ever be found on the Lord’s side. Revelation comes to the prophet For directing Church affairs; To young and old come calls to serve, To relieve daily needs or desperate cares, Or to teach or lead, Clothe or feed; In God’s work we’re called to share. Worthiness to receive God’s will with A sincere and contrite heart, Is necessary for each one of us, That we might see His curtain part; Knowing God’s work fills all time and space, For every nation, tongue, and race, Revelation parts the veil, God’s knowledge to impart.
$1.99
1.83 €
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Kevin G
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Revelation - an original hymn
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Kevin G. Pace
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SheetMusicPlus
Corant - trio- violin/oboe/cello
Cello,Oboe,Violin - Level 4 - Digital Download SKU: A0.1393758 Composed by Jean-Bap…
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Cello,Oboe,Violin - Level 4 - Digital Download SKU: A0.1393758 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977229. Published by Phil Beaman (A0.1393758). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Violin - bottom space F# to high E above staffOboe - middle C to high A above staffCello - low C below staff to high E above staff.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- violin/oboe/cello
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Phil Beaman
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SheetMusicPlus
Corant - trio- xylophone/acoustic guitar/electric bass guitar
Acoustic Guitar,Electric Bass Guitar,Xylophone - Level 5 - Digital Download SKU: A0.139…
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Acoustic Guitar,Electric Bass Guitar,Xylophone - Level 5 - Digital Download SKU: A0.1394296 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977773. Published by Phil Beaman (A0.1394296). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite.  It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps.  Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts.  I wrote a highly ornamented continuo for each part when not playing melody.  In true Baroque style I have created a tight interplay between the parts.  Each part also has a rather wide range of about 2 octaves.  Although in a Minor Key, this piece is very bright and uplifting.  It is very accessible and thus a concert crowd pleaser.  Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation.  Most of all, this piece is just Pure Fun!  And who would expect a 17th century style piece on Xylophone, Acoustic Guitar, and Electric Bass Guitar!6 pages score, 2 pages @ partRanges -Xylophone -  bottom space F# to E above staffAcoustic Guitar - middle C to A above staffElecBass  Guitar - low B below staff to high E above staff.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- xylophone/acoustic guitar/electric bass guitar
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Phil Beaman
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SheetMusicPlus
Corant - trio- flute/clarinet/trombone
Bass Trombone,Clarinet,Flute - Level 4 - Digital Download SKU: A0.1394137 Composed …
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Bass Trombone,Clarinet,Flute - Level 4 - Digital Download SKU: A0.1394137 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977597. Published by Phil Beaman (A0.1394137). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Flute - Â Ab to high F above staffClarinet - bottom space F# to high C above staffTrombone - low C below staff to high F above staff.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- flute/clarinet/trombone
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Phil Beaman
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SheetMusicPlus
Corant - trio- flute/clarinet/bass clarinet
Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute - Level 4 - Digital Download SKU: A…
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Woodwind Ensemble,Woodwind Trio Bass Clarinet,Flute - Level 4 - Digital Download SKU: A0.1394226 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977700. Published by Phil Beaman (A0.1394226). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Flute - Â second space A to high A above staffClarinet - second line G# to high D above staffBass Clarinet - low E below staff to high E above staff.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- flute/clarinet/bass clarinet
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Phil Beaman
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SheetMusicPlus
Corant - trio- violin/clarinet/trombone
Bass Trombone,Clarinet,Violin - Level 4 - Digital Download SKU: A0.1394166 Composed…
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Bass Trombone,Clarinet,Violin - Level 4 - Digital Download SKU: A0.1394166 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977651. Published by Phil Beaman (A0.1394166). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Violin - Â bottom space F# to high E above staffClarinet - bottom line E# to high B above staffTrombone - low C below staff to high E above staffrecording is of Violin/Trumpet/Trombone, clarinet would substitute for the trumpet part.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- violin/clarinet/trombone
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Phil Beaman
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SheetMusicPlus
Corant - trio- violin/trumpet/trombone
Bass Trombone,Trumpet,Violin - Level 4 - Digital Download SKU: A0.1394185 Composed …
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Bass Trombone,Trumpet,Violin - Level 4 - Digital Download SKU: A0.1394185 Composed by Jean-Baptiste Loeillet. Arranged by Phil Beaman. Baroque,Instructional,Standards. 12 pages. Phil Beaman #977658. Published by Phil Beaman (A0.1394185). This Baroque piece was originally written by Jean Loeillet as part of a Harpsichord Suite. Â It is written in the Italian Corant style in the characteristic Fast(Allegro) 3/4 with rapid running passages of eighth notes (quavers) which alternate scalar steps with large leaps. Â Traditionally the piece would have been performed very cleanly, not legato.My arrangement takes the melody and passes it between the three instrument parts. Â I wrote a highly ornamented continuo for each part when not playing melody. Â In true Baroque style I have created a tight interplay between the parts. Â Each part also has a rather wide range of about 2 octaves. Â Although in a Minor Key, this piece is very bright and uplifting. Â It is very accessible and thus a concert crowd pleaser. Â Great for the student recitals too to learn and show mastery of Baroque techniques of clean ensemble playing and ornamentation. Â Most of all, this piece is just Pure Fun!6 pages score, 2 pages @ partRanges -Violin - Â bottom space F# to high E above staffTrumpet - bottom line E# to high B above staffTrombone - low C below staff to high E above staff.
$7.99
7.36 €
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Jean-Baptiste Loeillet
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Corant - trio- violin/trumpet/trombone
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Phil Beaman
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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
44.17 €
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Gabrieli
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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
44.17 €
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Gabrieli
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Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giova…
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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
44.17 €
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Giovanni Gabrieli
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Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
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jmsgu3
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SheetMusicPlus
Batá para meu pai
Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 4 - Digital Download S…
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Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1175824 By Jonas Hocherman. By Jonas Hocherman. Arranged by Jonas Hocherman. 20th Century,Classical,Contemporary,Multicultural,World. Score and parts. 49 pages. Jonas Hocherman #775945. Published by Jonas Hocherman (A0.1175824). This piece is for the formation of Brass ensemble. It's about passage, about path, about life and about death. I began to write this piece from a rhythmic ostinato that came to me from the machine that monitored my father's health in the hospital in his last days of life.This ostinato immediately referred me to a clave of a candomblé rhythm called batá. From this rhytmic motive that accompanies us on this path, the theme emerges as if it were a distant corner that resonsin our existence. The ideas that accompany emerge and transform, bringing to this passage between life and death, this environment of the existence of the work.Listening is an immersion in this moment that we don't know, but we can imagine.This timeless space arises from passage between life and death, death and life.
$70.00
64.49 €
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Jonas Hocherman
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Batá para meu pai
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Jonas Hocherman
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832
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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
44.17 €
#
Giovanni Gabrieli
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Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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jmsgu3
#
SheetMusicPlus
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Co…
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass 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
44.17 €
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Giovanni Gabrieli
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Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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jmsgu3
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SheetMusicPlus
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233
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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
44.17 €
#
Giovanni Gabrieli
#
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
#
jmsgu3
#
SheetMusicPlus
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