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E Cello Music
Not classified 565

Piano & keyboards
Piano solo 38
Piano Trio: piano, violin, cello 33
Piano Quartet: piano, violin, viola, cello 19
Organ 16
Piano, Vocal and Guitar 12

Piano, Voice 9
Easy Piano 8
Piano Quintet: piano, 2 violins, viola, cello 8
Piano Accompaniment 4
Piano (band part) 3
C Instruments 2
Big Note Piano 1

+ 7 instrumentations

- Retract

Guitars
Guitar notes and tablatures 7
Guitar (band part) 6
Guitar 3
2 Guitars (duet) 3
Ukulele 2

Mandolin 1
Banjo 1
Bass guitar 1

+ 3 instrumentations

- Retract

Voice
Choral SATB 53
Choral Unison 12
Choral 3-part 8
Choral 2-part 6
Low voice, Piano 2

Choral SSAA 2
Vocal duet 2
Choral TTBB 1
Choral 1

+ 4 instrumentations

- Retract

Woodwind
Saxophone (band part) 34
Clarinet (band part) 26
Flute and Piano 16
Oboe (band part) 12
Clarinet and Piano 11

Flute (band part) 8
Alto Saxophone and Piano 7
Oboe, Piano (duet) 7
Flute, Violin and Violoncello 6
2 Saxophones (duet) 5
Tenor Saxophone and Piano 5
Flute, Violoncello 5
2 Clarinets (duet) 5
Oboe, Bassoon (duet) 5
3 Saxophones (trio) 4
Saxophone Quintet: 5 Saxophones 4
Recorder 4
Saxophone Quartet: 4 saxophones 4
Clarinet Quartet: Clarinet, Violin, Viola, Cello 4
Clarinet, Cello (duet) 3
Flute and Guitar 3
2 Flutes (duet) 3
Flute, Cello, Piano (trio) 3
2 Recorders (duet) 3
Flute, Oboe, Clarinet (trio) 3
Clarinet 3
Bass Clarinet, Piano 3
Flute, Oboe, Clarinet, Bassoon 3
Flute and Strings Trio 3
Oboe, Cello and Piano 2
Flute ensemble 2

Clarinet Quartet: 4 clarinets 2
Clarinet, Bassoon (duet) 2
Soprano Saxophone and Piano 2
English horn, Piano 2
Clarinet, Cello, Piano (trio) 2
Baritone Saxophone, Piano 2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 2
Recorder Quartet 1
Oboe, Cello 1
Saxophone and cello 1
Clarinet Quintet: 5 clarinets 1
2 Flutes, Basso continuo 1
Oboe, Clarinet, Bassoon (trio) 1
Flute Trio: 3 flutes 1
2 Saxophones, Piano 1
2 Clarinets, Piano 1
Treble (Alto) Recorder 1
Flute Quintet : 5 flutes 1
Oboe, Violin, Viola and Violoncello (Quartet) 1
Flute, Violin, Violoncello and Piano 1
3 Clarinets (trio) 1
Treble (Alto) Recorder, Basso continuo 1
3 Recorders (trio) 1

+ 49 instrumentations

- Retract

Woodbrass
Trombone (band part) 23
Trumpet (band part) 13
Trombone and Piano 11
French horn (band part) 7
Tuba (band part) 7

Trumpet, Piano 7
Tuba and Piano 6
French Horn and Piano 6
Bass Clef Instruments 5
Trumpet 3
2 Trombones (duet) 2
English horn, Piano 2
Trombone, Horn (duet) 2
Euphonium, Tuba (duet) 1
Brass Quartet: 4 trumpets 1
Brass Quintet: 2 trumpets, horn, trombone, tuba 1
4 Tubas 1
Trumpet ensemble 1
2 Trumpets (duet) 1
Brass Quartet: 4 horns 1
Brass quartet : 2 trumpets, trombone, tuba 1
2 Tubas (duet) 1
Brass Quartet: 4 trombones 1
Tuba 1
Trumpet, Trombone (duet) 1
Euphonium, Piano (duet) 1
Trumpet, Horn (duert) 1
Euphonium 1
Horn Ensemble 1

+ 24 instrumentations

- Retract

Strings
Cello (band part) 4,736
String Quartet: 2 violins, viola, cello 562
Cello 241
Cello, Piano 222
Violin, Cello (duet) 175

String Trio: 2 violins, cello 78
2 Cellos (duet) 74
String Trio: violin, viola, cello 69
String Quintet: 2 violins, viola, cello, bass 67
Violin (band part) 60
Doublebass (band part) 31
Violin 28
Viola (band part) 26
Cello, Guitar (duet) 22
Violin and Piano 19
Violin, Viola (duet) 19
4 Cellos 16
Viola, Cello (duet) 16
Viola, Piano 15
Cello, String Bass (duet) 11
Viola 10
Piano Trio: Violin, Viola, Piano 10
String Trio: 3 cellos 6
Harp, Cello (duet) 5
String Quintet: 2 violins, 2 violas, cello 5
String trio 5
2 Violas (duet) 5
Violoncello, Basso continuo 5
2 Violins (duet) 5
Harp, Violin (duet) 4
Viola and Harp 4
Cello, Organ 4
Double Bass 4
Harp 4
Harp, Flute (duet) 4
Flute, Doublebass (duet) 4
Double bass, Piano (duet) 3
Cello, Orchestra 3
Violin, Basso continuo 3
2 Violins and Basso 2
String Trio: 2 violins, viola 2
String Trio: 3 violas 1
Harp, Violin, Violoncello 1
String Trio: 3 violins 1
Viola, Guitar (duet) 1
Violin, Guitar (duet) 1
String Quartet : 4 violas 1
String Quintet: 2 violins, viola, 2 cellos 1

+ 43 instrumentations

- Retract

Percussion & orchestra
String Orchestra 114
Orchestra 59
Concert band 34
Chamber Orchestra 13
Percussion (band part) 9

Drum (band part) 4
Orchestra, Violin 1
Piano and Orchestra 1
Jazz Ensemble 1
Timpani (band part) 1
Percussion Ensemble 1

+ 6 instrumentations

- Retract

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E Cello Music

Flute ensemble

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2 sheet music found

Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir

Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir #Flute ensemble #INTERMEDIATE #Gabrieli #James M #Gabrieli: Sonata Pian e Forte #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 ...(+)

Woodwind Ensemble Flute - Level 3 - Digital Download 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 â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ 44.19€

Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir

Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir #Flute ensemble #INTERMEDIATE #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 ...(+)

Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ 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 Gabrieliâ€™s later motets Sacrae SymphoniaeÂ (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 â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ 44.19€