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Study in E
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You've selected:
Study in E
Clarinet Ensemble
Sheetmusic to print
2 sheet music found
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Dona Nobis Negative Harmony Pacem for Clarinet Choir
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Clarinet Ensemble
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INTERMEDIATE
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Classical
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Wolfgang Amadeus Mozart
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Lisa Ochoco
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Dona Nobis Negative Harmony Pa
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Lisa L Ochoco
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SheetMusicPlus
Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.560044 Composed by Wolfgang Amadeus Mozart. Arranged ...
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Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.560044 Composed by Wolfgang Amadeus Mozart. Arranged by Lisa Ochoco. Classical,Instructional. 15 pages. Lisa L Ochoco #6381615. Published by Lisa L Ochoco (A0.560044). Dona Nobis Pacem is a very well-known canon that most musicians have played. This arrangement is a fun study in negative harmony - as the title indicates. Negative harmony is the brainchild of Swiss composer, Ernst Levy. The concept, very simply put, is an inversion of chords and notes centered around an axis. The result is often quite interesting. I am only a beginner at negative harmony, and this song was an experiment, but it turned out to be quite lovely.
$12.00
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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Clarinet Ensemble
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INTERMEDIATE
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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 Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. 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.
$47.95
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