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2 Bass Trombones
Trumpet, Trombone (duet)
Sheetmusic to print
3 sheet music found
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EASTER PRELUDE - Medley for 3 TRUMPETS & 3 TROMBONES (unaccompanied)
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Trumpet, Trombone (duet)
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INTERMEDIATE
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Sacred music
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Glen Poehlmann
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2
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EASTER PRELUDE - Medley for 3
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arrangements by GPoehlmann
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.806966 Arranged by Glen Poehlmann. Christian,Easter,Sacred. Sco...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.806966 Arranged by Glen Poehlmann. Christian,Easter,Sacred. Score and parts. 10 pages. Arrangements by GPoehlmann #6195365. Published by arrangements by GPoehlmann (A0.806966). EASTER PRELUDE for 3 TRUMPETS and 3 TROMBONES (unaccompanied)Were You There? and Low in the Grave He Lay are used in this arrangement for Bb Trumpets & Trombones. Baritone Treble Clef parts are provided from Trombone 1 & 2. Trombone 3 is Bass Trombone or Tuba. Perfect way to open an Easter celebration!51 measures. Performance Time approx 2:25. Medium in Difficulty (Grade 3)Key: F - Ab - Eb. Meter: 4/4 - 3/4 - 2/4. Instrument Ranges (C4=middle C): Trumpet 1 F4 - B5 (written). Trumpet 2 D4 - G5 (written). Trumpet 3 D4 - F5 (written).Trombone 1 Eb3 - Ab4 (or Baritone TC 1). Trombone 2 Bb2 - Eb4 (or Baritone TC 2).Trombone 3Eb2 (Bb1) - Bb3 (Bass Trombone or Tuba).
$5.00
COME THOU ALMIGHTY KING - 3 TRUMPETS & 3 TROMBONES (unaccompanied)
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Trumpet, Trombone (duet)
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INTERMEDIATE/ADVANCED
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Sacred music
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Felice Giardini
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Glen Poehlmann
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COME THOU ALMIGHTY KING - 3 TR
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arrangements by GPoehlmann
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.806964 Composed by Felice Giardini. Arranged by Glen Poehlmann....
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 4 - Digital Download SKU: A0.806964 Composed by Felice Giardini. Arranged by Glen Poehlmann. Christian,Sacred. Score and parts. 10 pages. Arrangements by GPoehlmann #6190685. Published by arrangements by GPoehlmann (A0.806964). COME, THOU ALMIGHTY KING for 3 Bb TRUMPETS & 3 TROMBONES (unaccompanied)60 measures. Performance Time approx. 2:25. Medium Difficult (Grade 4-)Key: Bb - D - A. Meter: 4/4- 3/4. Instrument Ranges (C4=middle C): Trumpet 1 C4 - B5 (written)Trumpet 2 A3 - F#5 (written). Trumpet 3 B3 - G5 (written). Trombone 1 Bb2 - F4Trombone 2 Bb2 - F4. Trombone 3 E2 - E4 (Bass Trombone or Tuba)
$5.00
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trumpet, Trombone (duet)
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EASY
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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 Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst 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 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 he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
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