Partitions Numériques de Choir Baroque pour Trompette, Trombone (duo)

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Choir Baroque
Non classifié 615

Piano & claviers
Piano, Voix et Guitare 22
Piano seul 22
Piano, Voix 10
Orgue, Trompette (duo) 8
Instruments en Do 8

Piano Facile 6
Orgue 6
2 Pianos, 4 mains 4
Accompagnement Piano 3
Piano Trio: piano, violon, violoncelle 2
1 Piano, 4 mains 2
Clavecin 1

+ 7 instrumentations

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Guitares
Guitare 13
4 Guitares (Quatuor) 6
2 Guitares (duo) 6
Piano, Guitare (duo) 2
3 Guitares (trio) 1

Guitare notes et tablatures 1
Ligne De Mélodie, (Paroles) et Accords 1

+ 2 instrumentations

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Voix
Chorale SATB 572
Chorale 3 parties 177
Chorale 2 parties 68
Chorale TTBB 43
Chorale 22

Chorale SSAA 21
Chorale Unison 13
Chorale SSATBB 4
Chorale SSAATTBB 4
Chorale SATTB 3
Chorale SSATB 2
Voix duo 2
Voix duo, Piano 1
Soli, choeur mixte et accompagnement 1

+ 9 instrumentations

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Vents
Ensemble de Flûtes 89
Ensemble de Clarinettes 74
Flûte, Hautbois, Clarinette, Basson 28
Quatuor de Clarinettes: 4 clarinettes 27
Quatuor de Flûtes : 4 flûtes 26

Quatuor de Saxophones: 4 saxophones 18
Ensemble de saxophones 16
Quintette de Flûte : 5 flûtes 14
Quintette de Saxophone: 5 saxophones 11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 10
Flûte traversière 7
5 Flûtes à bec 6
Quintette de Clarinettes: 5 clarinettes 6
Flûte traversière et Piano 6
Clarinette 6
3 Saxophones (trio) 6
Quatuor de Flûtes à bec 5
Clarinette et Piano 4
Flûte à bec Soprano 3
Hautbois, Piano (duo) 3
3 Clarinettes (trio) 3
Flûte et Guitare 3
Trio de Flûtes: 3 flûtes 3
Saxophone Alto 2
4 Hautbois 2
Hautbois (partie séparée) 2
Ensemble De Flûte à bec 2
Clarinette, Harpe (duo) 1
Flûte, Violon 1
Flûte à bec, Guitare (duo) 1
Clarinette, Guitare (duo) 1
3 Hautbois 1
Saxophone Tenor et Piano 1
2 Clarinettes (duo) 1
Flûte, Hautbois (duo) 1
2 Flûte à bec (duo) 1
Flûte, Alto (duo) 1
Saxophone Soprano et Piano 1
Cor anglais, Piano 1
Saxophone Alto et Piano 1
Flûte, Hautbois, Clarinette (trio) 1
Ensemble de Hautbois 1

+ 37 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 53
Ensemble de Trompettes 42
Ensemble de Trombones 17
Quatuor de cuivres: 4 trombones 8
Trompette 5

Quatuor de cuivres: 4 trompettes 4
Quatuor de Cuivres : 2 trompettes, trombone, tuba 4
Trompette, Piano 4
Quatuor de cuivres: 4 cors 3
Trombone 3
Quatuor de Cuivres: 2 trompettes, Cor, trombone 3
Cor 3
Trombone et Piano 2
Quatuor de cuivres: 2 trompettes, 2 trombones 2
Tuba et Piano 2
Trompette, Trombone (duo) 2

Tuba 1
4 Euphoniums 1
2 Tubas (duo) 1
2 Trompettes (duo) 1
Ensemble de Cors 1
Trompette (partie séparée) 1
Euphonium, Piano (duo) 1
Cor anglais, Piano 1
Euphonium, Tuba (duo) 1
2 Trompettes, Clavier (piano ou orgue) 1

+ 21 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 12
Violon 9
Violoncelle (partie séparée) 8
Alto, Piano 8
Violoncelle, Piano 6

Trio à Cordes: violon, alto, violoncelle 6
Violon, Guitare (duo) 6
Alto (partie séparée) 5
Alto seul 5
Violon et Piano 4
Alto, Guitare (duo) 3
4 Violoncelles 2
Ensemble de Violoncelles 2
Violon, Violoncelle (duo) 2
Contrebasse, Piano (duo) 2
Violoncelle 2
Violoncelle , Guitare (duo) 2
2 Altos (duo) 1
2 Violons (duo) 1
Violon, Orgue 1
2 Violoncelles (duo) 1
Trio à cordes: 3 violins 1

+ 17 instrumentations

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Percussions & orchestre
Ensemble de cuivres 43
Orchestre de chambre 20
Cloches 20
Orchestre à Cordes 15
Orchestre 14

Orchestre d'harmonie 7
Quintette à Vent 1
Ensemble Jazz 1
Quintette de Cuivres: autres combinaisons 1

+ 4 instrumentations

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Choir Baroque

Trompette, Trombone (duo)

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2 partitions trouvées

Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir

Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir #Trompette, Trombone (duo) #FACILE #Giovanni Gabrieli #James M #1 Bass Trombone #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Fes...(+)

Brass Ensemble Trombone,Trumpet - Level 2 - 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.

$47.95 ≈ 44.73€

Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir

Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir #Trompette, Trombone (duo) #FACILE #Giovanni Gabrieli #James M #Gabrieli: Sonata Pian e Forte, #jmsgu3 #SheetMusicPlus

Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Fes...(+)

Brass Band Trombone,Trumpet,Tuba - Level 2 - 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 ≈ 44.73€

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