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You've selected:
Sun's on It's Way
Brass Quartet: 2 trumpets, horn, trombone
Sheetmusic to print
4 sheet music found
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1
Brass Trio, Homage to Bugs Bower
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE/ADVANCED
#
Jazz
#
Bob Delfausse
#
Brass Trio, Homage to Bugs Bow
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Robert Delfausse
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.766981 Composed by Bob Delfausse. Concert,Jazz. Score and parts. 17 pages. Robe...
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Brass Ensemble Horn,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.766981 Composed by Bob Delfausse. Concert,Jazz. Score and parts. 17 pages. Robert Delfausse #5322693. Published by Robert Delfausse (A0.766981). Bugs Bower composed several volumes of Bop Duets. Like so many other jazz musicians, my roommate and I spent countless hours playing through the volume we had, him on tenor sax and me on trumpet. Playing them is a masterclass in jazz phrasing, and studying them is a masterclass in the classic principles of counterpoint. It's a little bit like a Bach fugue. You start with a short catchy theme, and then let it go where it wants to go, but always building on that theme. I allowed myself a third voice here, which allow a little more richness. See also my Sundry Quartet, which adds a fourth instrument to the same basic music. Level: advanced intermediate. Duration: 3 minutes, 12 seconds.
$10.00
Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
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INTERMEDIATE
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon in Echo a 12
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jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Brass Quartet: 2 trumpets, horn, trombone
#
INTERMEDIATE
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzona in Echo Ch.
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Cha...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 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
Beautiful Savior (Brass Quartet and Piano)
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Brass Quartet: 2 trumpets, horn, trombone
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EASY
#
Sacred music
#
Stephen DeCesare
#
Stephen DeCesare
#
Beautiful Savior
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Exultet Music
#
SheetMusicPlus
Brass Quartet Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1461091 By Stephen DeCesare. By Traditional. Arranged by Stephen DeCesare. Chris...
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Brass Quartet Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1461091 By Stephen DeCesare. By Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred,Standards,Traditional. 21 pages. Exultet Music #1040002. Published by Exultet Music (A0.1461091). The Christian anthem that is still sung in many churches today has been freshly arranged with a contemporary flavor and scored for a Brass Quartet (Bb-Trumpet (2), French Horn, Trombone) with Piano accompaniment. This anthem has new life breathed into it by this arrangement, and it should be a great addition to your church's repertoire. This arrangement is a great way to liven up your church services with a new take on a classic. An accompaniment track is also available.
$12.99
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