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The First Antiphon
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Vous avez sélectionné:
The First Antiphon
Partitions à imprimer
169 partitions trouvées
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151
Seasonal Antiphons
Seasonal Antiphons
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Chorale 2 parties
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Musique Sacrée
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Dan Edwards
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Seasonal Antiphons
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Chorister's Guild - Digital
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SheetMusicPlus
Two-part chorus - SKU: C7.CGA1417 Composed by Dan Edwards. Advent, Christmas, Epiphany, Lent, Easter, General. Voices with Orff. With Orff, percussion. ...
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Two-part chorus - SKU: C7.CGA1417 Composed by Dan Edwards. Advent, Christmas, Epiphany, Lent, Easter, General. Voices with Orff. With Orff, percussion. Sacred Anthem. Octavo. 12 pages. Chorister's Guild - Digital #CGA1417. Published by Chorister's Guild - Digital (C7.CGA1417). UPC: 749193023471.This inventive resource features three antiphons that can perform double duty. The first antiphon includes a verse for Advent and another for Christmas. Next is an antiphon with Palm Sunday and Easter verses. The final antiphon pairs a familiar bible verse and a hymn stanza. Learn once, sing twice! Accompany these simple antiphons with Orff instruments and percussion grooves. Makes a fun rehearsal activity!
$3.95 ≈
3.70€
The First Antiphon
The First Antiphon
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Chorale SATB
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INTERMÉDIAIRE
#
Musique Sacrée
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Johannes H
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The First Antiphon
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Johannes H. Hindriks
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1138719 Composed by Johannes H. Hindriks. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 27 page...
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Choral Choir (SATB) - Level 3 - SKU: A0.1138719 Composed by Johannes H. Hindriks. Christian,Praise & Worship,Religious,Sacred,Spiritual. Octavo. 27 pages. Johannes H. Hindriks #739020. Published by Johannes H. Hindriks (A0.1138719). The text of this Slavic Orthodox chant, based on verses from Psalm 102, is featured in the Liturgy of Saint John Chrysostom. The Church Slavonic text is offered both in Russian Cyrillic type and English transliteration, set to new music by Johannes H. Hindriks. Instead of following a strict meter, the music freely follows the words in a recitative manner. Suitable as a hymn or recital piece. The 27-page PDF document includes: Full Score in 4 Staves, Full Score in 2 Staves, Parts, Background Information, and basic Pronunciation Guidelines. Duration: 2 mins. 20 secs. Skill Level: Medium.
$4.99 ≈
4.67€
Carson Cooman - Newton Antiphonies (2008) for two or more trumpets
Carson Cooman - Newton Antiphonies (2008) for two or more trumpets
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Trompette
#
INTERMÉDIAIRE
#
Carson Cooman
#
Carson Cooman - Newton Antipho
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Trumpet Solo - Level 3 - SKU: A0.775966 Composed by Carson Cooman. Contemporary,Standards. Individual part. 3 pages. Musik Fabrik Music Publishing #2034...
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Trumpet Solo - Level 3 - SKU: A0.775966 Composed by Carson Cooman. Contemporary,Standards. Individual part. 3 pages. Musik Fabrik Music Publishing #2034727. Published by Musik Fabrik Music Publishing (A0.775966). Newton Antiphonies (2008) for two or more trumpets was composed for the First Unitarian Society in Newton, Massachusetts on the occasion of its 160th anniversary in November 2008. The score of the work consists of seven cells, each with a different tempo. It is important that the distinct tempo and character of each cell be observed. Other than starting points (as described below), no rhythmic coordination between the performers should be attempted in any way. A performance should begin with the first trumpet playing cell #1. When he reaches the point in the cell marked with an asterisk (*), the second player begins playing cell #1. Once the first player has finished cell #1, after a brief pause, he may choose any one of the other six cells to play next. When the second player has reached the point in cell #1 marked by the asterisk, the third player begins cell #1, continuing after a pause to whichever cell he has chosen next. This thus continues in this same manner for each trumpet. Ideally, the piece will last between 2 and 5 minutes, although if there are an exceptionally large number of trumpets used, it may be longer. Each player thus always begins with cell #1 and after finishing it, plays the remaining cells in any order he chooses, not repeating any and pausing briefly between each one. Once finished with playing all seven, the player stops. When only one player (the last player) is left playing his final cell (and ideally at the point marked with the asterisk in whichever cell he is playing), the first trumpet should begin playing cell #7 again. Thus, the first player will always end the piece alone with cell #7, which is the only repetition of a cell that occurs in the context of performance. The composer recommends between 4 and 6 trumpets for an ideal performance, however any number (two or more) is acceptable. It is also strongly requested that the trumpets surround the audience antiphonally. The work may be performed on any matched trumpets (i.e., do not mix C and Bb instruments).
$12.95 ≈
12.12€
Like Shoots of the Olive: Communion Antiphon for the Rite of the Dedication of a Church (Choral Score)
Like Shoots of the Olive: Communion Antiphon for the Rite of the Dedication of a Church (Choral Score)
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Chorale SATB
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FACILE
#
Musique Sacrée
#
Normand Gouin
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Like Shoots of the Olive: Comm
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MorningStar Music Publishers - Digital Sheet Music
#
SheetMusicPlus
Assembly, cantor, SATB choir, organ, with optional chamber orchestra (Chamber Orchestra: Flute, Oboe, Horn in F, Strings) - Moderately Easy - SKU: MQ.81-045...
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Assembly, cantor, SATB choir, organ, with optional chamber orchestra (Chamber Orchestra: Flute, Oboe, Horn in F, Strings) - Moderately Easy - SKU: MQ.81-045-E Composed by Normand Gouin. Building Dedication. Instrument parts. 8 pages. MorningStar Music Publishers - Digital Sheet Music #81-045-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.81-045-E). English, Korean, Spanish, Vietnamese. Psalms 128.This reverent, graceful setting of the Communion Antiphon for the Dedication of a Church was commissioned for the Dedication of Christ Cathedral, Orange, California. The assembly sings the refrains, and verses from Psalm 128 are sung by cantor and choir. The organ accompaniment can be supplemented by optional chamber orchestra parts, and material in additional languages is also available. Appropriate for the Feasts of the Holy Family and Dedication of St. John Lateran, as well as First Communion liturgies.
$2.25 ≈
2.11€
Thou Art My Beloved Son - 2-part Liturgical Anthem
Thou Art My Beloved Son - 2-part Liturgical Anthem
#
Chorale 2 parties
#
DÉBUTANT
#
Phil Beaman
#
Thou Art My Beloved Son - 2-pa
#
Phil Beaman
#
SheetMusicPlus
Choral Choir (2-Part) - Level 1 - SKU: A0.844654 Composed by Phil Beaman. 20th Century,Baroque,Christian,Sacred. Octavo. 6 pages. Phil Beaman #4854165. ...
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Choral Choir (2-Part) - Level 1 - SKU: A0.844654 Composed by Phil Beaman. 20th Century,Baroque,Christian,Sacred. Octavo. 6 pages. Phil Beaman #4854165. Published by Phil Beaman (A0.844654). Thou Art My Beloved Son is a Liturgical Anthem specifically for the First Sunday after Epiphany. (Although the message is timeless and could be used in any service). The text is adapted from the prescribed scripture readings for the Church of England/American Episcopal. (Actual verses used are: Mark 1:11, Isaiah 42:6-7, Eph. 1:17-18, Jer. 31:9.) The Anthem is for 2 part Mixed Choir with Organ. It is in neo-Baroque style with chanting influences in the verses and simple imitative lines in the antiphon. There are 4 verses and a soloist (or 4 different soloists) introduces each verse text before it is taken up by the whole choir.I have marked it pure and simple with brightness. It is a joyful Hymn of Epiphany that works well with choirs of any size and ability. This Easy piece has become a repertoire standard in many of my choirs.6 pages, 2:45 minutesTemporary recording is a piano reduction of 2 verses.
$2.50 ≈
2.34€
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
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
#
SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - 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 ≈
44.86€
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
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
#
SheetMusicPlus
Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Publishe...
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Strings - Level 3 - 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 ≈
44.86€
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. 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 – 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. Â
$47.95 ≈
44.86€
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3...
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Woodwind Ensemble Flute - Level 3 - SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. 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 – 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 ≈
44.86€
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. 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 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 ≈
44.86€
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Ensemble de Flûtes
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INTERMÉDIAIRE
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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
Woodwind Ensemble Flute - Level 3 - SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3...
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Woodwind Ensemble Flute - Level 3 - 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 ≈
44.86€
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed 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
#
SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - 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 ≈
44.86€
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...
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Level 3 - 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 ≈
44.86€
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). 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 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. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95 ≈
44.86€
Let All the World in Ev'ry Corner Sing — SATB voices, organ
Let All the World in Ev'ry Corner Sing — SATB voices, organ
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Chorale SATB
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INTERMÉDIAIRE
#
Todd Marchand
#
Let All the World in Ev'ry Cor
#
Con Spirito Music
#
SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1439047 Composed by Todd Marchand. Christian,Sacred. 5 pages. Con Spirito Music #1019076. Published ...
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Choral Choir,Choral,SATB Chorus - Level 3 - SKU: A0.1439047 Composed by Todd Marchand. Christian,Sacred. 5 pages. Con Spirito Music #1019076. Published by Con Spirito Music (A0.1439047). “Let All the World in Ev’ry Corner Sing” is a short poem from the collection, The Temple, by Anglican priest, poet, and orator George Herbert (1593-1633). A contemporary of William Shakespeare and John Milton, God-child to poet John Donne, Herbert is associated with the 17th-century Metaphysical poets and “is remembered as a pivotal figure: enormously popular, deeply and broadly influential, and arguably the most skillful and important British devotional lyricist of his or any other time.” Shortly before his death in 1633 at age 39, Herbert directed that a manuscript of his religious poems be sent to his fellow clergyman and friend, Nicholas Ferrar, reportedly saying, “Tell him ... if he can think it may turn to the advantage of any dejected poor Soul, let it be made publick: if not, let him burn it: for I and it, are less than the least of God’s mercies.” First published in 1633, The Temple was an enormously popular work, totaling more than 20,000 copies printed in 13 editions between 1633 and 1679.“Let All the World in Ev'ry Corner Sing” is the refrain of Herbert’s poem, “Antiphon (I),” which appeared in the “Christian Life” section of The Temple. An antiphon may be defined as a short sentence or refrain sung or recited before or after a psalm or canticle; and in Herbert's short poem of two stanzas, he may also have intended that the verses be recited antiphonally (alternately) by two groups. The third stanza in this setting for SATB voices and organ, a doxology by an unknown author, was added in the 19th century. ©Copyright 2024 Todd Marchand / Con Spirito Music (ASCAP). For more sacred, patriotic, folk, and popular music for instruments and voices, visit www.conspiritomusic.com
$2.00 ≈
1.87€
Advent Antiphon
Advent Antiphon
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Chorale SATB
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INTERMÉDIAIRE
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Jeffrey Richard Carter
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Advent Antiphon
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Jeffrey Richard Carter
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1023635 Composed by Jeffrey Richard Carter. Christian,Contemporary,Sacred. Octavo. 1 pages. Jeffrey Richard Cart...
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Choral Choir (SATB) - Level 3 - SKU: A0.1023635 Composed by Jeffrey Richard Carter. Christian,Contemporary,Sacred. Octavo. 1 pages. Jeffrey Richard Carter #6209347. Published by Jeffrey Richard Carter (A0.1023635). A setting of traditional Advent prosody, alternating plainsong with choral passages, culminating in a blaze of angelic sound. Suitable for Advent lessons and carols services, or for any Sunday in Advent, but especially the first Sunday.
$2.50 ≈
2.34€
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - 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 ≈
44.86€
An Antiphonal Noel
An Antiphonal Noel
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Joel Raney
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An Antiphonal Noel
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Hope Publishing - Digital
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SheetMusicPlus
Choral, Handbell SATB choir & unison choir (or soloist) with 6 handbells (or keyboard) - SKU: H1.C6052DP Composed by Joel Raney. Piano with Optional Uni...
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Choral, Handbell SATB choir & unison choir (or soloist) with 6 handbells (or keyboard) - SKU: H1.C6052DP Composed by Joel Raney. Piano with Optional Unison Choir (or Soloist) with 6 Handbells (or Keyboard). Sing & Ring Series. Ring & Sing, Christmas, Sacred. Octavo. 4 pages. Hope Publishing - Digital #C6052DP. Published by Hope Publishing - Digital (H1.C6052DP). Joel Raney. Luke 2:8.Original anthem Here is a piece that can be used as a choral introit or a processional during the Christmas season. It also functions as a seamless introduction to the congregational singing of The First Noel. A simple ostinato pattern for 6 handbells provides the accompaniment as Unison and SATB choirs sing an 'echo and response,' welcoming in Christmas with their joyous noels.
$2.75 ≈
2.57€
Sonata Pian ‘e Forte for 8-part Antiphonal Trombone Ensemble
Sonata Pian ‘e Forte for 8-part Antiphonal Trombone Ensemble
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Giovanni Gabrieli
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Russell McKinney
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Pian
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Sonata Pian ‘e Forte for
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792814 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and...
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Brass Ensemble Trombone - Level 5 - SKU: A0.792814 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and parts. 14 pages. Gordon Cherry #6641859. Published by Gordon Cherry (A0.792814). Gabrieli's Sonata Pian 'e Forte for 8-part Antiphonal Trombone Ensemble has been beautifully arranged (down a fifth from the original key) by Russel McKinney. The work (Ch.175) is part of the 1597 Sacrae symphoniae, published posthumously which contains sixty-three choral and instrumental works, many in multi-choir formations. This 8-part Sonata is in two choirs....a high one and a low one (in this case choir II uses three bass trombones with an optional Contrabass Trombone!)The most unique aspect of this masterpiece is its use of printed dynamics...originally thought to be the first work of its sort; Pian (soft) and Forte (loud). These dynamic markings are central to the structure of the work.This 4 1/2 minute work is appropriate for moderately advanced to advanced performers. Parts 1 A and B are in tenor clef. Parts 4A, 2B,2C & 2D are for Tenor-Bass or Bass Trombones. Part 4B may be performed by a Contrabass Trombonist.The dramatic performance of the sound sample is by the arranger himself, Bass Trombonist Russell McKinney playing both tenor and bass trombones.The most unique aspect of this masterpiece is its use of printed dynamics...originally thought to be the first work of its sort; Pian (soft) and Forte (loud). These dynamic markings are central to the structure of the work.This 4 1/2 minute work is appropriate for moderately advanced to advanced performers. Parts 1 A and B are in tenor clef. Parts 4A, 2B,2C & 2D are for Tenor-Bass or Bass Trombones. Part 4B may be performed by a Contrabass Trombonist.
$22.50 ≈
21.05€
Was It The Wind? (SATB+TTBB+Piano)
Was It The Wind? (SATB+TTBB+Piano)
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Jack Curtis Dubowsky
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Was It The Wind?
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De Stijl Music Digital
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SheetMusicPlus
Chorus SATB + TTBB + Piano (SATB + TTBB) - Intermediate - SKU: D3.SM-16-0002A Composed by Jack Curtis Dubowsky. Choral. Contemporary; secular. Sheet mus...
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Chorus SATB + TTBB + Piano (SATB + TTBB) - Intermediate - SKU: D3.SM-16-0002A Composed by Jack Curtis Dubowsky. Choral. Contemporary; secular. Sheet music. 31 pages. De Stijl Music Digital #SM-16-0002A. Published by De Stijl Music Digital (D3.SM-16-0002A). 8.5 x 11 inches.Ina Coolbrith (1841-1928) was the first California Poet Laureate. Was it the Wind? premiered at GALA Choral Festival 2016. Was it the Wind? is the last stanza of the poem California from Songs From the Golden Gate (1895). Themes of nature, wind, water, sunset, the Golden Gate, Mount Tamalpais, and Sausalito. For two antiphonal choirs.
$4.95 ≈
4.63€
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
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Ensemble de Clarinettes
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INTERMÉDIAIRE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
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Woodwind Ensemble Clarinet - Level 3 - SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. 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 – 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. Â
$47.95 ≈
44.86€
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
String Ensemble Cello - Level 2 - SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards...
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String Ensemble Cello - Level 2 - SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.  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 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 ≈
44.86€
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
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Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. 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 – 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 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 ≈
44.86€
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trompette, Trombone (duo)
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FACILE
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
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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...
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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 ≈
44.86€
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE
#
Gabrieli
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James M
#
Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Concert Band - Level 3 - SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jms...
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Concert Band - Level 3 - 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. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 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 – 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. Â
$47.95 ≈
44.86€
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The First Antiphon
