Partitions Numériques de Gabrieli pour Violoncelle

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Gabrieli
Non classifié 176

Piano & claviers
Orgue 15

Guitares

Voix
Chorale SATTB 29
Chorale SATB 29
Chorale 6
Chorale SSAATTBB 2
Chorale SATBB 1

Chorale SSATB 1
Chorale SAATB A Cappella 1

+ 2 instrumentations

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Vents
Ensemble de Clarinettes 17
Ensemble de Flûtes 9
Flûte, Hautbois, Clarinette, Basson 9
Quatuor de Flûtes à bec 8
Ensemble de saxophones 8

Quatuor de Clarinettes: 4 clarinettes 7
Quintette de Saxophone: 5 saxophones 7
Quatuor de Saxophones: 4 saxophones 6
Flûte à Bec 5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 4
Ensemble De Flûte à bec 4
Quatuor de Flûtes : 4 flûtes 4
Flûte traversière 1
Flûte à bec Tenor 1
Flûte, Hautbois, Clarinette (trio) 1
Flûte à bec Soprano 1
Flûte à bec Alto 1
5 Flûtes à bec 1
Quintette de Clarinettes: 5 clarinettes 1

+ 14 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 20
Quatuor de Cuivres: 2 trompettes, Cor, trombone 11
4 Tubas 9
Ensemble de Trombones 9
Quatuor de Cuivres 7

Quatuor de Cuivres : 2 trompettes, trombone, tuba 6
Quatuor de cuivres: 4 trombones 5
Ensemble de Trompettes 5
Quatuor de cuivres: 4 trompettes 4
Trio de Cuivres 4
2 Euphoniums et 2 Tubas 3
Cor 3
Ensemble de Tubas 3
Trompette, Trombone (duo) 2
Trompette (partie séparée) 2
Trombone basse et Piano 1
Trombone (partie séparée) 1

+ 12 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 5
Violon (partie séparée) 2
Violoncelle (partie séparée) 2
Alto (partie séparée) 1
Violoncelle 1

Percussions & orchestre
Ensemble de cuivres 50
Orchestre d'harmonie 20
Quintette à Vent 5
Orchestre à Cordes 4
Orchestre 2

Ensemble Jazz 1

+ 1 instrumentations

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Gabrieli

Violoncelle

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1 partition trouvée

Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir

Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir #Violoncelle #INTERMÉDIAIRE #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Cello - Level 3 - SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published ...(+)

Cello - Level 3 - 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.

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