Download Digital Sheet Music of Dialogue Baroque for Concert band

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PIANO & KEYBOARDS

Easy Piano 13 Piano, Voice 12 Piano solo 6 Organ 3 Piano Accompaniment 2

2 Pianos, 4 hands 1

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GUITARS

Guitar 1

VOICE

Voice solo 6 Vocal duet, Piano 2 High voice 1 Low voice, Piano 1

WOODWIND

2 Flutes (duet) 5 2 Saxophones (duet) 4 Flute, Violoncello 3 Oboe, Cello 3 Oboe, Bassoon (duet) 3

Flute, Clarinet (duet) 2 2 Clarinets (duet) 2 2 Oboes (duet) 2 Soprano Saxophone and Piano 2 Oboe, Violin (duet) 2 Flute ensemble 2 Saxophone Quartet: 4 saxophones 2 Oboe, Piano (duet) 2 Clarinet Ensemble 2 Clarinet, Cello (duet) 2 2 Flutes, Piano 1 Clarinet, Violin (duet) 1 Oboe, Clarinet (duet) 1 Oboe and viola (duet) 1 Flute, Trombone (duet) 1 Clarinet and Viola 1 Flute Trio: 3 flutes 1 Clarinet and Piano 1 Flute, Violin, Piano 1 3 Saxophones (trio) 1 Clarinet, Bassoon (duet) 1 Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1 English horn, Piano 1 Oboe, Trombone (duet) 1 3 Clarinets (trio) 1 Flute, Oboe (duet) 1 Clarinet, Tuba 1 Flute, Viola (duet) 1 Tenor Saxophone and Piano 1 Flute, Oboe, Clarinet, Bassoon 1 Flute, Oboe, Clarinet (trio) 1 Flute, Tuba (duet) 1 Flute and Piano 1 Flute, Oboe, Piano (trio) 1 Flute, Clarinet, Piano (trio) 1 Flute, Violin 1

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WOODBRASS

Trumpet, Bassoon (duet) 4 Trumpet, Trombone (duet) 3 Horn, Cello (duet) 2 Trumpet, Cello (duet) 2 Brass Quartet: 2 trumpets, horn, trombone 2

2 French horns (duet) 2 Trombone, Violin (duet) 1 Trombone and Piano 1 Trumpet, Tuba (duet) 1 2 Trumpets (duet) 1 Trumpet, Piano 1 English horn, Piano 1 2 Trombones (duet) 1 French horn and Basson (duet) 1 French Horn and Piano 1 Trumpet, Horn (duert) 1

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STRINGS

2 Violins (duet) 3 String Quartet: 2 violins, viola, cello 2 Cello 1 Viola, Cello (duet) 1 Violin, Tuba (duet) 1

Violin, Cello (duet) 1 String Trio: violin, viola, cello 1 Cello, String Bass (duet) 1 Violin, Bassoon (duet) 1 Cello, Piano 1 2 Cellos (duet) 1 Violin, Viola (duet) 1 2 Violas (duet) 1 Viola, Piano 1 Violin and Piano 1

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PERCUSSION & ORCHESTRA

Concert band 4 Brass ensemble 2 Chamber Orchestra 1 2 Xylophones 1

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Dialogue Baroque

Concert band

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4 sheet music found

Concerto for Concert Band (2011) full score Concert band

Concert Band - Level 4 - Digital Download SKU: A0.869220 Composed by Thomas Oboe Le…(+)

Concert Band - Level 4 - Digital Download SKU: A0.869220 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 74 pages. Thomas Oboe Lee #1934325. Published by Thomas Oboe Lee (A0.869220). Program note. Concerto for Concert Band is in four movements, played without pause. The first movement begins with a percussion fanfare that leads into woodwind melodies coupled with the euphonium. Then the percussion takes over again, with a timpani solo feature. The second movement is a dialogue between the clarinet and brass choirs. As the choir masses become more dense, a plaintive solo oboe emerges from the din â€¦ molto cantabile!!! The third movement is a scherzo featuring the trumpets and the woodwinds. The percussion section joins in with outbursts and commentaries â€¦ The brass choir returns in the last movement with more melodies emanating from the woodwinds. The work ends in quiet tranquility â€¦ molto cantabile again!!! The work is dedicated to the effervescent Bill Drury who conducts the wind ensembles at the New England Conservatory of Music. I was very grateful to Bill when he asked me to write something for him and the Jordan Winds at NEC. It is a huge challenge to compose music for large wind groups. I find most concert band pieces too thick and mucky in texture. The trick is to create concert band music that is light and transparent; to orchestrate in such a way that you can see/hear light seeping through. I hope I was able to do that. Enjoy!! Instrumentation: 3 Flutes (Fl. 3 also doubles on piccolo) 2 Oboes 2 Bassoons Clarinet in Eb 3 Clarinets in Bb 2 Bass Clarinets in Bb 4 French Horns 3 Trumpets in Bb (also doubling on Flugelhorns in Bb) 3 Trombones Euphonium Tuba Timpani Marimba Percussion 1: snare drum, 3 tom-toms Percussion 2: triangle, 2 bass drums This is a transposed score.

$9.99 9.21 € #Concert band #Thomas Oboe Lee #Concerto for Concert Band #Thomas Oboe Lee #SheetMusicPlus

Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band Concert band

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arra…(+)

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™s later motets Sacrae SymphoniaeÂ (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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 44.21 € #Concert band #Gabrieli #Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band #jmsgu3 #SheetMusicPlus

Gabrieli: Jubilate Deo Ch. 136 for Concert Band Concert band

Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabri…(+)

Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, 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, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics â€“ or was the first to indicate them, such as in his Sonata Pianâ€™ 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 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 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. 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. Gabrieliâ€™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 by 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, 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 â€“ called Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 44.21 € #Concert band #Giovanni Gabrieli #Gabrieli: Jubilate Deo Ch. 136 for Concert Band #jmsgu3 #SheetMusicPlus

Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band Concert band

Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arra…(+)

Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1Â PiccoloAtÂ leastÂ 2Â flutes,Â clarinets, altoÂ &Â tenorÂ saxesAtÂ leastÂ 1Â bassÂ clarinetAtÂ leastÂ Â 2Â trumpets,Â horns,Â trombonesÂ &Â tubas4Â timpaniScore: 20 pg. 81 measures. 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo. Â

$47.95 44.21 € #Concert band #Gabrieli #Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band #jmsgu3 #SheetMusicPlus