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THIRD Renaissance
Sheetmusic to print
33 sheet music found
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1
26
Three Renaissance Dances for Horn Octet
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Tielman Susato
#
Charles Decker
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Three Renaissance Dances for H
#
Charles Decker Music Press
#
SheetMusicPlus
Horn Ensemble Euphonium,Horn - Level 3 - Digital Download SKU: A0.817179 Composed by Tielman Susato. Arranged by Charles Decker. Chamber,Contest,Festival...
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Horn Ensemble Euphonium,Horn - Level 3 - Digital Download SKU: A0.817179 Composed by Tielman Susato. Arranged by Charles Decker. Chamber,Contest,Festival,Instructional,Multicultural,Renaissance,World. 29 pages. Charles Decker Music Press #6704593. Published by Charles Decker Music Press (A0.817179). They may be 500 years old, but these three Renaissance instrumental dances from Tillman Susato's 1551 collection The Third Little Music Book, prefaced with to be played on all types of musical instruments, remain appealing music for audiences and performers. These lively, popular dances of the day feature homophonic setting, root position chords, primary beat stresses, and individual parts that encompass an octave or less which makes them very accessible for young or inexperienced musicians. Scoring them for antiphonal horn quartets creates a memorable aural and visual performance experience for performers and audiences and would be a terrific showcase for your ensemble hornists. Alternate treble and bass clef euphonium parts are included for the lowest horn parts IV and VIII. Â A recording of the entire arrangement is included.See 50+ homogeneous brass group editions for horn, trumpet and trombone ensembles and more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. Check out our Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.
$11.95
Adrian Le Roy: Third Book of Music for the Guitar, Transcribed for Baritone Ukulele
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Renaissance
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Adrian Le Roy
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Michael P Walker
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Adrian Le Roy: Third Book of M
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Michael P Walker
#
SheetMusicPlus
Small Ensemble Ukulele - Level 2 - Digital Download SKU: A0.810018 Composed by Adrian Le Roy. Arranged by Michael P Walker. Renaissance. Score. 82 pages....
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Small Ensemble Ukulele - Level 2 - Digital Download SKU: A0.810018 Composed by Adrian Le Roy. Arranged by Michael P Walker. Renaissance. Score. 82 pages. Michael P Walker #5986469. Published by Michael P Walker (A0.810018). Here are 36 compositions by Adrian Le Roy from the Renaissance transcribed into tablature and modern notation for the baritone ukulele.
$19.95
Seven Renaissance Pieces arr. for classical guitar quartet with soprano, alto and tenor recorders
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Tielmann Susato and John Dowla
#
John Pinno
#
 
#
Seven Renaissance Pieces arr.
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John Pinno
#
SheetMusicPlus
Small Ensemble Alto Recorder,Guitar,Hand Percussion,Soprano Recorder,Tenor Recorder - Level 4 - Digital Download SKU: A0.775446 Composed by Tielmann Susa...
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Small Ensemble Alto Recorder,Guitar,Hand Percussion,Soprano Recorder,Tenor Recorder - Level 4 - Digital Download SKU: A0.775446 Composed by Tielmann Susato and John Dowland. Arranged by John Pinno. Concert,Renaissance,Wedding. Score and parts. 21 pages. John Pinno #3235415. Published by John Pinno (A0.775446). An arrangement of seven pieces from the Renaissance era by Tielmann Susato and John Dowland, for classical guitar quartet along with soprano, alto and tenor recorders. I have played these pieces in public performances, with three classical guitarists and myself playing either classical guitar or one of the recorders. Optionally the whole group could be played with four guitarists and a fifth member playing the different recorders. Additionally, my group has also included my wife playing some light ad-lib parts on bodhran (Irish-style hand drum), tambourine, and finger cymbals. Please also check out some of my other arrangements on Sheet Music Plus for classical guitar solo, and also duos for guitar with flute or voice : http://www.sheetmusicplus.com/publishers/john-pinno-sheet-music/3002745 The way I've performed these pieces, including myself and three guitarists: The Allemande gtr 1 part is played with tenor recorder playing the gtr 1 line down an octave, as shown in the tenor rec part, and on repeats, while the tenor rec. is not playing, the gtr 3 player plays the gtr 1 part, leaving the third gtr part unplayed, or the tenor recorder could play it. The Ronde in D minor is for gtr qt only On the Ronde in F major, I played the top part on an alto recorder. The Ronde and the Hupfauf are basically the same tune, but with different time signatures. On the Hupfauf I played the the gtr 1 part and there was no recorder part. For the Hoboeckentanz I played the gtr 1 part from the provided alto recorder part, which is a plain and then ornamented version. On the Ronde in C major I played the gtr 1 line on soprano recorder. The last piece in the group, Now O Now I Needs Must Part, either the soprano recorder plays the gtr 1 part through the whole tune, or alternates with one of the guitarists, as shown in the part for soprano and gtr 1.For any questions, concerns, etc. email John Pinno at jpinno093@hotmail.com
$15.00
25B. I Hear the Voice of Jesus Say (THIRD MODE MELODY)
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Thomas Tallis
#
Richard Giszczak
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25B. I Hear the Voice of Jesus
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Singing Winds Music Company
#
SheetMusicPlus
Carillon,Instrumental Solo - Level 3 - Digital Download SKU: A0.823892 Composed by Thomas Tallis (c. 1505–1585). Arranged by Richard Giszczak. Eas...
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Carillon,Instrumental Solo - Level 3 - Digital Download SKU: A0.823892 Composed by Thomas Tallis (c. 1505–1585). Arranged by Richard Giszczak. Easter,Praise & Worship,Renaissance,Sacred. Individual part. 5 pages. Singing Winds Music Company #6692251. Published by Singing Winds Music Company (A0.823892). This arrangement is set for 25-Bell (or larger) Carillon (C,D,E...d1), however it may also be played on piano, organ, or electronic keyboard or adapted to other instruments. It is comprised of a short introduction, a full statement of the theme, and 4 variations.The hymn tune name is THIRD MODE MELODY. The words I Heard the Voice of Jesus Say are appropriate for funerals. The words To Mock Your Reign, O Dearest Lord are associated with Lent.
$2.00
Westerly for flute, violin and string orchestra (mp3)
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Alec Keith, Matt Weiss, Octava
#
Westerly for flute, violin and
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David Warin Solomons
#
SheetMusicPlus
Strings Flute,Violin - Level 4 - Digital Download SKU: A0.1256762 By Alec Keith, Matt Weiss, Octava Chamber Orchestra. By David Warin Solomons. 20th Cent...
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Strings Flute,Violin - Level 4 - Digital Download SKU: A0.1256762 By Alec Keith, Matt Weiss, Octava Chamber Orchestra. By David Warin Solomons. 20th Century,21st Century. Full Performance. Duration 628. David Warin Solomons #850134. Published by David Warin Solomons (A0.1256762). Performed here by Alec Keith (flute), Matt Weiss (violin) and the Octava Chamber Orchestra under guest conductor Ian AlvarezWesterly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk songIt is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF]In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme).The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music.
$6.50
Westerly for flute, violin and string orchestra (SCORE and PARTS)
#
David Warin Solomons
#
Westerly for flute, violin and
#
David Warin Solomons
#
SheetMusicPlus
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultura...
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Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 64 pages. David Warin Solomons #566725. Published by David Warin Solomons (A0.576980). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. Â The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. The pdf file contains score and parts.
$17.00
Westerly for flute, violin and string orchestra (SCORE only)
#
David Warin Solomons
#
Westerly for flute, violin and
#
David Warin Solomons
#
SheetMusicPlus
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultura...
(+)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 27 pages. David Warin Solomons #566727. Published by David Warin Solomons (A0.576981). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music.
$10.00
Yo me soy la morenica
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Anonymous
#
Ian D
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Yo me soy la morenica
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Grumpy Mule Music
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SheetMusicPlus
Small Ensemble Alto Recorder,Soprano Recorder,Tenor Recorder - Level 3 - Digital Download SKU: A0.949156 Composed by Anonymous. Arranged by Ian D. Crew. ...
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Small Ensemble Alto Recorder,Soprano Recorder,Tenor Recorder - Level 3 - Digital Download SKU: A0.949156 Composed by Anonymous. Arranged by Ian D. Crew. Christmas,Classical,Concert,Renaissance,Standards. Score and parts. 20 pages. Grumpy Mule Music #6083835. Published by Grumpy Mule Music (A0.949156). 'Yo me soy la morenica' is the third piece in the suite 'A Renaissance Christmas for Recorders', a collection of four villancicos from the Spanish Renaissance. The villancico is now synonymous with the Christmas carol and this selection has been arranged in a lively, idiomatic way for SATB Recorder Quartet. (The complete suite is available here, as are the other three pieces as separate items.) In addition, a keyboard part is provided for support, making this a highly flexible resource for both performers and teachers, full of warmth, joy, and seasonal cheer. ¡Feliz Navidad!
$6.99
Yo me soy la morenica
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Anonymous
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Ian D
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Yo me soy la morenica
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Grumpy Mule Music
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SheetMusicPlus
Small Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,English Horn,Flute,Oboe,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU:...
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Small Ensemble Alto Saxophone,Baritone Saxophone,Bassoon,Clarinet,English Horn,Flute,Oboe,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.949142 Composed by Anonymous. Arranged by Ian D. Crew. Christmas,Classical,Concert,Renaissance,Standards. Score and parts. 40 pages. Grumpy Mule Music #6038775. Published by Grumpy Mule Music (A0.949142). Yo me soy la morenica is the third piece in the suite 'A Renaissance Christmas for Woodwind', a collection of four villancicos from the Spanish Renaissance. The villancico is now synonymous with the Christmas carol and this selection has been arranged in a lively, idiomatic way for Flexible Woodwind Quartet. (The complete suite is available here, as are the other three pieces as separate items.) Parts are provided for almost any combination of woodwind instruments, together with a keyboard part for support, making this a highly flexible resource for both performers and teachers, full of warmth, joy, and seasonal cheer. ¡Feliz Navidad!
$9.99
Gozate Virgen sagrada
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Anonymous
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Ian D
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Gozate Virgen sagrada
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Grumpy Mule Music
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SheetMusicPlus
Alto Recorder,Bass Recorder,Descant Recorder,Soprano Recorder,Tenor Recorder,Treble Recorder - Level 3 - Digital Download SKU: A0.1468467 Composed by Ano...
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Alto Recorder,Bass Recorder,Descant Recorder,Soprano Recorder,Tenor Recorder,Treble Recorder - Level 3 - Digital Download SKU: A0.1468467 Composed by Anonymous. Arranged by Ian D. Crew. Advent,Christmas,Early Music,Holiday,Renaissance. Recorder Ensemble. 20 pages. Grumpy Mule Music #1046787. Published by Grumpy Mule Music (A0.1468467). The third piece from a second suite of four villancicos from this arranger. These pieces, from the Spanish Renaissance, are full of warmth, joy, and seasonal cheer: perfect for recitals or services during the Christmas period. Originally a type of partsong, the villancico is now synonymous with the Christmas carol. This piece has been arranged in a suitably idiomatic way for SATB Recorder Quartet. In addition, a keyboard part is provided for support, making this a highly flexible resource for both performers and teachers. ¡Feliz Navidad!
$8.99
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jm...
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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
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCA...
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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
03. Courtly Dance Entrance
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Betsy Lee Bailey
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Betsy Lee Bailey
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03. Courtly Dance Entrance
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Betsy Lee Bailey
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SheetMusicPlus
Level 2 - Digital Download SKU: A0.1477780 By Betsy Lee Bailey. By Betsy Lee Bailey. Arranged by Betsy Lee Bailey. Broadway,Children,Comedy,Historic,Musi...
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Level 2 - Digital Download SKU: A0.1477780 By Betsy Lee Bailey. By Betsy Lee Bailey. Arranged by Betsy Lee Bailey. Broadway,Children,Comedy,Historic,Musical/Show,Renaissance. Accompaniment. Duration 40. Betsy Lee Bailey #1055161. Published by Betsy Lee Bailey (A0.1477780). 03. Courtly Dance Entrance from The Frog Prince Children's Musical by Betsy Lee Bailey. Third in the Show Order tracks.
$1.99
What Child is This?
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Unknown
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Del Ahlin
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What Child is This?
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Del Ahlin
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quartet Baritone Saxophone,Clarinet,Flute,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1374072 Composed by Unknown. Ar...
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Woodwind Ensemble,Woodwind Quartet Baritone Saxophone,Clarinet,Flute,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1374072 Composed by Unknown. Arranged by Del Ahlin. Christmas,Classical,Holiday,Renaissance,Sacred. 9 pages. Del Ahlin #958642. Published by Del Ahlin (A0.1374072). Yet another arrangement of What Child is This. Features a wind quartet (Flute, Bb Clarinet, Bb Tenor Sax, and Eb Baritone Sax), exphasizing alternating patterns of Picardy Third, arranged in 4-part style. (A brass version is also available, featuring Two Bb Trumpets, Trombone, and Tuba).
$1.99
Dies sanctificatus (Canali) - AATB or ATTB
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Floriano Canali
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Aristotle A
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Dies sanctificatus
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CantemusDomino.Net
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SheetMusicPlus
Choral Choir (4-Part) - Level 4 - Digital Download SKU: A0.1003367 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christmas,Classical,Re...
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Choral Choir (4-Part) - Level 4 - Digital Download SKU: A0.1003367 Composed by Floriano Canali. Arranged by Aristotle A. Esguerra. Christmas,Classical,Renaissance,Sacred,World. Octavo. 2 pages. CantemusDomino.Net #3536023. Published by CantemusDomino.Net (A0.1003367). A setting of the text of the Alleluia verse of the Third Mass of Christmas for AATB or ATTB choir by Floriano Canali (c.1550–c.1630).A transposition of this setting is available for SATB choir.Total length: ~1:45Key: D DorianMode: Mode IRange requirements (middle C = C4):· Cantus [Alto]: A3–C5· Altus [Alto or Tenor I]: G3–G4· Tenor [Tenor or Tenor II]: C3–E4· Bassus [Bass]: G2–A3Pages: 2 8.5x11 sheetsSystems per page: 4Accompaniment: noneEnglish Translation:This day which is breaking is holy.O come, ye Gentiles, and worship the Lord.For this day is much light come down unto us from heaven.
$3.00
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 Double Reed Choir
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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
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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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
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
#
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
If Ye Love Me
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Renaissance
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Thomas Tallis
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Sarah Marinescu
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If Ye Love Me
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Sarah Marinescu
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SheetMusicPlus
String Ensemble,String Quintet - Level 2 - Digital Download SKU: A0.985215 Composed by Thomas Tallis. Arranged by Sarah Marinescu. Renaissance. Score and...
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String Ensemble,String Quintet - Level 2 - Digital Download SKU: A0.985215 Composed by Thomas Tallis. Arranged by Sarah Marinescu. Renaissance. Score and parts. 8 pages. Sarah Marinescu #5370223. Published by Sarah Marinescu (A0.985215). This popular work as been arranged for String Quintet. In an easy to read format, it can easily be performed by a larger String Orchestra. Violin parts require ability to use third position or second position, if preferred.Suitable for school orchestras and string quintets for a variety of occasions.Score and parts.
$4.99
Pavane & Gaillarde Des Dieux, First Book of Dances (Pierre Phalèse, 1571) for Wind Instruments
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Pierre Phalèse
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Colin Kirkpatrick
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Part 1 (C, B flat, E flat)
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Pavane & Gaillarde Des Dieux,
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Colin Kirkpatrick Publications
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SheetMusicPlus
Small Ensemble - Level 3 - Digital Download SKU: A0.522175 Composed by Pierre Phalèse. Arranged by Colin Kirkpatrick. Christmas,Holiday,Renaissance,We...
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Small Ensemble - Level 3 - Digital Download SKU: A0.522175 Composed by Pierre Phalèse. Arranged by Colin Kirkpatrick. Christmas,Holiday,Renaissance,Wedding. Score and parts. 26 pages. Colin Kirkpatrick Publications #6088861. Published by Colin Kirkpatrick Publications (A0.522175). Pierre Phalèse (1510-1575) was a Flemish publisher and his First Book of Dances, an extensive collection of dances in four parts, was published in Leuven in 1571. They are attractive pieces and are sure to be popular at any concerts, public recitals or end-of-semester events. During the sixteenth and seventeenth centuries, the pavane and gaillarde were both popular dances and frequently paired. These are the third and fourth paired dances in the original publication. This arrangement is scored for virtually any combination of conventional wind instruments and percussion, with optional keyboard part. The flexible arrangement makes them playable by all sorts of non-standard ensembles. The optional keyboard part enables you to use the piece as a solo or duet and trio for mixed instruments. This 4-part arrangement is presented in a single PDF file which includes the Full Score; Part 1 (C, B flat, E flat); Part 2 (C, B flat, E flat); Part 3 (C, F, B flat, E flat), Part 4 (C, B flat, E flat); Keyboard and Percussion. A piano sounds distinctly out of place in this music and a digital or acoustic harpsichord sounds more authentic. Most electronic keyboards have a harpsichord option. The percussion instruments used are similar to those found in elementary school music rooms and two players are usually required. Other percussion instruments may be added as desired. Dance music is intended to be fun, and we hope that this arrangement brings you just that.
$11.99
Tous Les Regretz
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Classical
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J
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Tous Les Regretz
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J. Randolph Hall
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Interactive Download SKU: A0.1093056 By ... Arranged by J. Randolph Hall. This edition: Interactive...
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Interactive Download SKU: A0.1093056 By ... Arranged by J. Randolph Hall. This edition: Interactive Download. Classical. Score and parts. 16 pages. Duration 270. J. Randolph Hall #4OCmsygecsbz1TAmpjKzIT. Published by J. Randolph Hall (A0.1093056). Key: C major.This chanson was composed in the Renaissance period by the Franco-Flemish composer. This secular work is one out of thirty chansons that de la Rue composed. It was published around 1502. Section A and C have the first theme. Section B and D have the second them. The arrangement here ends on a Picardy third.
$4.00
Je Me Complains
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Classical
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J
#
Je Me Complains
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J. Randolph Hall
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SheetMusicPlus
Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.1105297 By ... Arranged by J. Randolph Hall. This edition: Interactive...
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Small Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Interactive Download SKU: A0.1105297 By ... Arranged by J. Randolph Hall. This edition: Interactive Download. Classical. Score and parts. 11 pages. Duration 86. J. Randolph Hall #2eIO3ISQzscss77HIH6DgI. Published by J. Randolph Hall (A0.1105297). Key: F major.This secular chanson was written by the high Renaissance composer aka Josquin, who was Franco-Flemish. The work starts off in a minor key but ends on a Picardy third.
$4.00
"Fuego, fuego" - Villancico para San Pedro Nolasco á 7 - Antonio Duran de la Mota - Score Only
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Arturo Escorza
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Arturo Escorza
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"Fuego, fuego" - Villancico pa
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Arturo Escorza
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SheetMusicPlus
Digital Download SKU: A0.1121857 By Arturo Escorza. By Antonio Duran de la Mota. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Renaissance,Sacr...
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Digital Download SKU: A0.1121857 By Arturo Escorza. By Antonio Duran de la Mota. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Renaissance,Sacred. 41 pages. Arturo Escorza #723050. Published by Arturo Escorza (A0.1121857). Fuego, fuego - Villancico para San Pedro Nolasco á 7 - Antonio Duran de la Mota. This beautiful villancico with text by Sor Juana Ines de la Cruz and music by Antonio Duran de la Mota, made famous by Ensemble Elyma, was adapted to different texts during the 18th century. Ensemble Elyma recorded it as Fuego, fuego, que el templo se abrasa. This pretty much the same villancico, but some differences, both musical and with the text. The text says Fuego, fuego, que Juan de Dios se abrasa. The other lyrics can be adapted without problems. The original sheet music is in F Major, although the tenor's vocal range is too high to sing comfortably (remember that, in early music, the tessituras are not necessarily identical to what we now understand as alto, tenor, etc. It is likely that the tenor was sung by a female voice). Anyway, in this file is also included the piece transposed a minor third below, that is, in D Major.
$13.00
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
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