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Canzon Septimi Toni
Sheetmusic to print
29 sheet music found
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1
26
Canzon per Sonar Septimi Toni a 8 for 8-part Brass Ensemble
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Brass ensemble
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ADVANCED
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Giovanni Gabrieli
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Damiano Drei
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Canzon per Sonar Septimi Toni
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble - Level 5 - Digital Download SKU: A0.792751 Composed by Giovanni Gabrieli. Arranged by Damiano Drei. Baroque,Classical,Renaissance. Score ...
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Brass Ensemble - Level 5 - Digital Download SKU: A0.792751 Composed by Giovanni Gabrieli. Arranged by Damiano Drei. Baroque,Classical,Renaissance. Score and parts. 35 pages. Gordon Cherry #6222417. Published by Gordon Cherry (A0.792751). Giovanni Gabrieli's Canzon per sonar septimi toni à8 (Ch. 171) is an instrumental work in 8 parts (2 choirs antiphonal) composed in 1597 as part of a collection of 45 motets titled Sacrae Symphoniae. These works were performed in St. Marks Basilica after Gabrieli returned to Venice to become the principal organist there and propelled him to become recognized as one of Europe's leading composers.The instrumental works of the Sacrae Symphoniae have been cherished by brass performers for many years now. This new arrangement by Damiano Drei has been carefully edited for modern instruments with minimal changes and includes substitute parts to allow the performance of this glorious work by 8 or more advanced performers.Instrumentation is for: 4 Trumpets in B-flat, Horn in F, 2 Trombones and Tuba. Alternate parts are written for Horns in F and Trombone).
$27.50
Canzon Septimi Toni a 8 No. 2 for Horn Octet
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French horn
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Renaissance
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Giovanni Gabrieli
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Spencer Causey
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Canzon Septimi Toni a 8 No. 2
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Spencer Causey
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SheetMusicPlus
French Horn Solo - Digital Download SKU: A0.920295 Composed by Giovanni Gabrieli. Arranged by Spencer Causey. Renaissance. Individual part. 16 pages. Spe...
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French Horn Solo - Digital Download SKU: A0.920295 Composed by Giovanni Gabrieli. Arranged by Spencer Causey. Renaissance. Individual part. 16 pages. Spencer Causey #6013615. Published by Spencer Causey (A0.920295). This interesting piece by Giovanni Gabrieli has been arranged for 8 horns. It features 2 choirs of 4 horns that should be seated on opposite sides of the stage to provide a stereo experience for listeners. At the time this was done in opposite church balconies. This arrangement is perfect for high school, college, and professional groups seeking a piece that isn't too difficult to put together but sounds great.MP3 Audio Clip and Youtube video played 1 hole step higher than written.
$15.00
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 Flute Choir
#
Flute ensemble
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. 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.
$47.95
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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Clarinet Ensemble
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
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
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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Cello
#
INTERMEDIATE
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #346...
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Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. 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: Canzon Septimi Toni Ch 172 for Double Reed Choir
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Gabrieli
#
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
Canzon Septimi Toni No. 1 for 2 antiphonal tuba quartets
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Renaissance
#
Giovanni Gabrieli
#
Tim Olt
#
Canzon Septimi Toni No. 1 for
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Olt Music
#
SheetMusicPlus
Brass Ensemble Euphonium,Tuba - Level 3 - Digital Download SKU: A0.759014 Composed by Giovanni Gabrieli. Arranged by Tim Olt. Renaissance. Score and part...
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Brass Ensemble Euphonium,Tuba - Level 3 - Digital Download SKU: A0.759014 Composed by Giovanni Gabrieli. Arranged by Tim Olt. Renaissance. Score and parts. 35 pages. Olt Music #3517373. Published by Olt Music (A0.759014). Another of the classic antiphonal works arranged for 2 tuba quartets. May be performed with larger ensembles as long as space is maintained for stereophonic effect.
$10.00
Canzon Septimi Toni No. 2 for 2 antiphonal tuba quartets
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Renaissance
#
Giovanni Gabrieli
#
Tim Olt
#
Canzon Septimi Toni No. 2 for
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Olt Music
#
SheetMusicPlus
Brass Ensemble Euphonium,Tuba - Level 3 - Digital Download SKU: A0.759015 Composed by Giovanni Gabrieli. Arranged by Tim Olt. Renaissance. Score and part...
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Brass Ensemble Euphonium,Tuba - Level 3 - Digital Download SKU: A0.759015 Composed by Giovanni Gabrieli. Arranged by Tim Olt. Renaissance. Score and parts. 30 pages. Olt Music #3517375. Published by Olt Music (A0.759015). One of the most popular antiphonal works of all time arranged for 2 tuba quartets. May be performed by large ensemble as long as spacing is maintained for stereophonic effect.
$10.00
Canzon Septimi Toni #2
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Brass ensemble
#
INTERMEDIATE/ADVANCED
#
Gabrieli
#
Robert B
#
Canzon Septimi Toni #2
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Robert Oldroyd Music
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SheetMusicPlus
Brass Ensemble - Level 4 - Digital Download SKU: A0.941784 Composed by Gabrieli. Arranged by Robert B. Oldroyd. Concert,Graduation,Renaissance,Sacred,Wed...
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Brass Ensemble - Level 4 - Digital Download SKU: A0.941784 Composed by Gabrieli. Arranged by Robert B. Oldroyd. Concert,Graduation,Renaissance,Sacred,Wedding. Score and parts. 25 pages. Robert Oldroyd Music #5288533. Published by Robert Oldroyd Music (A0.941784). This piece is an excellent choice for church services, wedding ceremonies and graduations. The work has been scored to pit cylindrical and conical instruments against each other. The instrumentation is 2 trumpets, 2 trombones, flugelhorn, 2 horns, and tuba.
$13.00
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trumpet, Trombone (duet)
#
EASY
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest...
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.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 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 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.
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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: 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
Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band
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Concert band
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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
Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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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 – 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
Canzon Septimi Toni a8
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Saxophone ensemble
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INTERMEDIATE
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Classical
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Giovanni Gabrieli
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Robert Rainford
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Canzon Septimi Toni a8
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Forton Music - Digital
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SheetMusicPlus
Saxophone Octet - Intermediate - Digital Download Composed by Giovanni Gabrieli (1553-1612). Arranged by Robert Rainford. Score and parts. 31 pages. Fo...
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Saxophone Octet - Intermediate - Digital Download Composed by Giovanni Gabrieli (1553-1612). Arranged by Robert Rainford. Score and parts. 31 pages. Forton Music - Digital #FM137. Published by Forton Music - Digital
$15.95
Canzona Septimi Toni A 8
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Tuba ensemble
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Giovanni Gabrieli
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Steven Cross
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Canzona Septimi Toni A 8
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Cimarron Music Press
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SheetMusicPlus
By Giovanni Gabrieli (1553-1612). Arranged by Steven Cross. For Tuba Ensemble (EEEETTTT). Published by Cimarron Music Press ...
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By Giovanni Gabrieli (1553-1612). Arranged by Steven Cross. For Tuba Ensemble (EEEETTTT). Published by Cimarron Music Press
$25.00
G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.171 (for 4 Trumpets & 4 Trombones)
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Renaissance
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G
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M
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 3 - Digital Download SKU: A0.981753 Composed by G. Gabrieli. Arranged by M. Kutsenko. Renaissance. Score and Part...
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Brass Ensemble Trombone,Trumpet - Level 3 - Digital Download SKU: A0.981753 Composed by G. Gabrieli. Arranged by M. Kutsenko. Renaissance. Score and Parts. 28 pages. Sheetmusicworks #5372137. Published by sheetmusicworks (A0.981753).
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G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.172 (for 4 Trumpets & 4 Trombones)
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Renaissance
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G
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M
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 3 - Digital Download SKU: A0.981754 Composed by G. Gabrieli. Arranged by M. Kutsenko. Renaissance. Score and Part...
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Brass Ensemble Trombone,Trumpet - Level 3 - Digital Download SKU: A0.981754 Composed by G. Gabrieli. Arranged by M. Kutsenko. Renaissance. Score and Parts. 30 pages. Sheetmusicworks #5374485. Published by sheetmusicworks (A0.981754).
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G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.171, arr. for Double Clarinet quartet
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Clarinet Quartet: 4 clarinets
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INTERMEDIATE
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Renaissance
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G
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M
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
Clarinet Ensemble,Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.981763 Composed by G. Gabrieli. Arranged by M. Kutsenko. Renaissance. 2...
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Clarinet Ensemble,Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.981763 Composed by G. Gabrieli. Arranged by M. Kutsenko. Renaissance. 28 pages. Sheetmusicworks #5713075. Published by sheetmusicworks (A0.981763).
$5.99
G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.172, arr. for Double Clarinet quartet
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Clarinet Ensemble
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INTERMEDIATE
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Renaissance
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G
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Xlomeg
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.981770 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. 26 pages. Sheetmusicwork...
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.981770 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. 26 pages. Sheetmusicworks #5726981. Published by sheetmusicworks (A0.981770).
$4.99
G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.171, arr. for Double Sax quartet
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Saxophone ensemble
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Renaissance
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G
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Xlomeg
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Digital Download SKU: A0.981765 Composed by G. Gabrieli. Arranged...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Digital Download SKU: A0.981765 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. 29 pages. Sheetmusicworks #5718371. Published by sheetmusicworks (A0.981765).
$4.99
G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.172, arr. for Double Sax quartet
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Saxophone ensemble
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INTERMEDIATE
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Renaissance
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G
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Xlomeg
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.981768 Composed by G. Gabrieli...
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Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.981768 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. 26 pages. Sheetmusicworks #5725551. Published by sheetmusicworks (A0.981768).
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Canzon Septimi e Octavi Toni à 12
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Renaissance
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Giovanni Gabrieli
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Roger Müller
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Canzon Septimi e Octavi Toni Ã
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althorn-music
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SheetMusicPlus
Brass Band Baritone Horn TC,Bass Trombone,E-Flat Cornet,E-Flat Tuba TC,Euphonium,Flugelhorn,Trumpet - Level 3 - Digital Download SKU: A0.828791 Composed ...
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Brass Band Baritone Horn TC,Bass Trombone,E-Flat Cornet,E-Flat Tuba TC,Euphonium,Flugelhorn,Trumpet - Level 3 - Digital Download SKU: A0.828791 Composed by Giovanni Gabrieli. Arranged by Roger Müller. Renaissance. 76 pages. Althorn-music #3228463. Published by althorn-music (A0.828791). Instrumentation for flexible Brass-Ensemble (3 Choirs): A1 - Trumpet/Cornet in Bb; A2 - Trumpet/Cornet in Bb / Horn in F/Eb; A3 - Horn in F/Eb / Trombone/Euphonium in Bb/C; A4 - Trombone/Euphonium/Tuba in Bb/C/Eb; B1 - Trumpet/Cornet in Bb; B2 - Trumpet/Cornet in Bb / Horn in F/Eb; B3 - Horn in F/Eb / Trombone/Euphonium in Bb/C; B4 - Trombone/Euphonium/Tuba in Bb/C/Eb; C1 - Trumpet/Cornet in Bb; C2 - Trumpet/Cornet in Bb / Horn in F/Eb; C3 - Horn in F/Eb / Trombone/Euphonium in Bb/C; C4 - Trombone/Euphonium/Tuba in Bb/C/Eb; .
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G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.172, arr. for Double String quartet
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String Orchestra
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INTERMEDIATE
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Renaissance
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G
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Xlomeg
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.981769 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. Score and parts. 26 pages. Sheetmu...
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String Orchestra - Level 3 - Digital Download SKU: A0.981769 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. Score and parts. 26 pages. Sheetmusicworks #5729881. Published by sheetmusicworks (A0.981769).
$4.99
G. Gabrieli - Canzon per sonar septimi toni a 8, Ch.171, arr. for Double String quartet (or String O
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String Orchestra
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Renaissance
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G
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Xlomeg
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G. Gabrieli - Canzon per sonar
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sheetmusicworks
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SheetMusicPlus
String Orchestra - Digital Download SKU: A0.981764 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. Score and parts. 28 pages. Sheetmusicworks #...
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String Orchestra - Digital Download SKU: A0.981764 Composed by G. Gabrieli. Arranged by Xlomeg. Renaissance. Score and parts. 28 pages. Sheetmusicworks #5720069. Published by sheetmusicworks (A0.981764).
$4.99
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