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Sonata for 24 Brass Instruments
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Sonata for 24 Brass Instruments
Sheetmusic to print
3 sheet music found
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1
Sonata for 24 Brass Instruments
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Brass ensemble
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INTERMEDIATE
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Classical
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Charles Mackworth-Young
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Sonata for 24 Brass Instrument
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Forton Music - Digital
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SheetMusicPlus
Brass Ensemble - Intermediate-Advanced - Digital Download SKU: F2.FM1170 Composed by Charles Mackworth-Young. Large scale epic using full forces. Classic...
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Brass Ensemble - Intermediate-Advanced - Digital Download SKU: F2.FM1170 Composed by Charles Mackworth-Young. Large scale epic using full forces. Classical. Score and Parts. 463 pages. Forton Music - Digital #FM1170. Published by Forton Music - Digital (F2.FM1170). 8.25 x 11.75 inches.
$127.95
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jm...
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Level 3 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult 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 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
Sonata Allegro by Zelenka for Saxophone Quintet in Schools
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Saxophone Quintet: 5 Saxophones
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INTERMEDIATE/ADVANCED
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Jan Zelenka
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Joseph Judge
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Sonata Allegro by Zelenka for
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School Ensemble Music
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SheetMusicPlus
Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1499177 Comp...
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Saxophone Quintet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.1499177 Composed by Jan Zelenka. Arranged by Joseph Judge. Baroque,Chamber. 24 pages. School Ensemble Music #1075226. Published by School Ensemble Music (A0.1499177). From Sonata V in F major, ZWV 181,5. Music by Jan Dismas Zelenka is known for being daring, spirited, and complex. His works are sometimes difficult to perform, but always fresh and surprising, with sudden turns of harmony. In particular, his writing for bass instruments is far more demanding than that of other composers of the early 1700s.Duration - 2:22Parts - Alto, Alto, Tenor, Tenor, Baritone. Flexible: alternate Soprano Sax part for top voice. For a full list of arrangements by Joseph Judge, please visit SchoolEnsemble.com. Most are available for multiple ensembles: brass, string, woodwind, saxophone, clarinet.
$8.99
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