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15 sheet music found
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1
The Garden Spinner Full Performance
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Andrea May Jenkins
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Andrea May Jenkins
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The Garden Spinner Full Perfor
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JenkinsVMAstudio LLC.
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SheetMusicPlus
High Voice,Piano - Level 2 - Digital Download SKU: A0.1243761 By Andrea May Jenkins. By Andrea May Jenkins. Arranged by Andrea May Jenkins. Children,Cont...
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High Voice,Piano - Level 2 - Digital Download SKU: A0.1243761 By Andrea May Jenkins. By Andrea May Jenkins. Arranged by Andrea May Jenkins. Children,Contemporary,Instructional. Full Performance. Duration 138. JenkinsVMAstudio LLC. #838731. Published by JenkinsVMAstudio LLC. (A0.1243761). The Garden Spinner is about the natural beauty of a spider's web-spinning process. The melody matches the patterns of the spider's process and the lyric's description throughout the poems.This beautiful vocal arrangement is one of many pieces written from poems by Fairy Walker Lane. Fairy Walker Lane 1890-1985 and the great aunt of Andrea JenkinsAndrea had always loved her aunt Fairy's poems, from when she was a little girl and her mom showed her the original pieces of work on old manuscript paper typed by a typewriter.  Fairy was more than a poetry writer. She lived in Tucumcari, New Mexico, and her family was responsible for establishing one of the original schoolhouses where Andrea's great-grandmother was a schoolteacher. Fairy was also an entrepreneur and owned a business selling hats in Tucumcari.Andrea lives in Maricopa, AZ, and is a teacher for middle school choir and drama.
$5.00
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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3 tubas
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
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
#
James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
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
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
#
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
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
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
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
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
#
Giovanni Gabrieli
#
James M
#
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
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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Giovanni Gabrieli
#
James M
#
Gabrieli: Canzon per Sonar Ch.
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP....
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.
$47.95
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch
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jmsgu3
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SheetMusicPlus
Brass Ensemble Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Con...
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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
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP....
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was instead the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can sound perfectly in balance in contrast.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges shown by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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Giovanni Gabrieli
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James M
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1 Bass Trombone
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Gabrieli: Canzon per Sonar à
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP....
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...
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Woodwind Ensemble - Level 3 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. 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 rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone 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
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental parts: 2 pg. ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – 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 Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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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
Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3...
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Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental parts: 2 pg. ea. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – 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. www.jamesguthrie.com.
$47.95
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