Download Digital Sheet Music of Double Take for Clarinet Ensemble

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Double Take
Not classified 443

Piano & keyboards
Piano solo 24
C Instruments 17
Piano, Voice 5
Easy Piano 3
Piano Quartet: piano, violin, viola, cello 2

Piano, Vocal and Guitar 1
Piano (band part) 1
Piano Trio: piano, violin, cello 1

+ 3 instrumentations

- Retract

Guitars
Mandolin 3
Guitar (band part) 2
Guitar notes and tablatures 2
Bass guitar 2
Ukulele 1

Melody line, (Lyrics) and Chords 1

+ 1 instrumentations

- Retract

Voice
Choral SATB 17
Choral 3-part 3
Choral TTBB 2
Choral SSAATTBB 1
Vocal duet, Piano 1

Choral Unison 1
Soli, Mixted choir and accompaniment 1
Choral SSAA 1

+ 3 instrumentations

- Retract

Woodwind
Saxophone (band part) 8
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 8
Clarinet (band part) 6
Flute, Oboe, Clarinet, Bassoon 5
Saxophone Quartet: 4 saxophones 5

Flute and Piano 3
Clarinet Ensemble 3

Oboe (band part) 3
Alto Saxophone 2
Clarinet Quartet: 4 clarinets 2
Flute Quartet: 4 flutes 2
2 Saxophones (duet) 2
Oboe, Bassoon (duet) 1
2 Clarinets (duet) 1
2 Flutes (duet) 1
Clarinet 1
English Horn 1
Oboe, Piano (duet) 1
Saxophone Quintet: 5 Saxophones 1
Oboe, Clarinet (duet) 1
Alto Saxophone and Piano 1
2 Oboes (duet) 1
Flute 1
Clarinet and Piano 1

+ 19 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 12
Trombone (band part) 7
Trumpet (band part) 7
Brass quartet : 2 trumpets, trombone, tuba 4
Trumpet 2

Trombone and Piano 2
French horn (band part) 2
Bass Clef Instruments 2
Tuba (band part) 2
2 Trombones (duet) 2
English Horn 1
Brass Quartet: 4 trombones 1
2 Tubas (duet) 1
French horn 1
Brass Trio 1
Brass Quartet: 2 trumpets, horn, trombone 1
Trumpet, Trombone (duet) 1
Tuba 1

+ 13 instrumentations

- Retract

Strings
String Quintet: 2 violins, viola, cello, bass 53
String Quartet: 2 violins, viola, cello 50
Double bass, Piano (duet) 43
Double Bass 28
Violin (band part) 8

Harp 8
Violin 7
Doublebass (band part) 7
Violin and Piano 7
String Quintet: 2 violins, viola, 2 cellos 5
Cello, Piano 5
Viola 4
Viola, Piano 4
2 Cellos (duet) 3
Viola (band part) 3
2 Double basses (duet) 3
Violin, Cello (duet) 3
4 Double Basses 3
String Quintet: 2 violins, 2 violas, cello 3
String Trio: violin, viola, cello 2
Cello 2
Cello, String Bass (duet) 2
2 Violins (duet) 2
Cello (band part) 2
Harp, Violin (duet) 1
String quartet: 4 violins 1
Violin, Viola (duet) 1
Harp, Flute (duet) 1
String trio 1

+ 24 instrumentations

- Retract

Percussion & orchestra
Orchestra 39
String Orchestra 27
Jazz Ensemble 18
Concert band 18
Chamber Orchestra 7

Handbells 6
Brass ensemble 6
Percussion (band part) 4
Percussion Ensemble 3
Drum (band part) 2
Drums 1
Xylophone, Piano 1
Jazz combo 1

+ 8 instrumentations

- Retract

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Double Take

Clarinet Ensemble

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3 sheet music found

Childrens's Intermezzo (Mvt 2 from Samuel Coleridge-Taylor's Othello Suite)

Childrens's Intermezzo (Mvt 2 from Samuel Coleridge-Taylor's Othello Suite) #Clarinet Ensemble #INTERMEDIATE/ADVANCED #Classical #Samuel Coleridge Taylor #George Lin #Childrens's Intermezzo #George Lin #SheetMusicPlus

Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1355195 Composed by Samuel Coler...(+)

Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1355195 Composed by Samuel Coleridge Taylor. Arranged by George Lin. Classical. 40 pages. George Lin #939911. Published by George Lin (A0.1355195). Arranged for clarinet choir.Â Score and parts included.Â This is an arrangement of Samuel Coleridge-Taylor's Movement 2 from his Othello Suite titled 'Children's Intermezzo'.Â Music is in the public domain.Â Parts are:Â Eb soprano clarinet, Solo Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, 4th Bb Clarinet (doubles the alto clarinet), Eb Alto Clarinet, Bb Bass Clarinet, Eb Contra Alto Clarinet,Â and Bb Contra Bass Clarinet (doubles the Eb Contra Alto Clarinet).Â Note: tempo markings are just a suggestion.Â Take liberty to change tempi.Â Note that the recording doesn' take into consideration gradual tempo changes and rubato and is just a computer MIDI translation from the score (no real instruments were used for recording).

$9.99 ≈ 9.29€

The Monk's Turned Topsy-Turvy

The Monk's Turned Topsy-Turvy #Clarinet Ensemble #INTERMEDIATE/ADVANCED #Lori Archer Sutherland #The Monk's Turned Topsy-Turvy #Lori Archer Sutherland #SheetMusicPlus

Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.764956 Composed by Lori Archer S...(+)

Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.764956 Composed by Lori Archer Sutherland. Contemporary,Folk,Standards. 50 pages. Lori Archer Sutherland #4597193. Published by Lori Archer Sutherland (A0.764956). For clarinet choir (Eb, 4 Bb, Alto, Bass, Eb Contra, Bb Contra. Alternate Bb parts included for Eb and Alto. Basset horn part included (doubles Alto)).You may print multiple parts as needed for your ensemble.The Monkâ€™s Turned Topsy-Turvy is an original fantasy for clarinet choir, based on the old French-Canadian childrenâ€™s song, Ah! Si mon moine voulait danser! (Danse, mon moine, danse). The title is a play on words: moine means both monk and spinning top in French. The lyrics speak of persuading mon moine to dance by offering various articles of clothing, such as a hood or cap.After a brief, yet bold, introduction, the piece jumps into a straightforward rendition of the tune. From there, the melody is repeated, bringing in other voices and added flourishes. While the tune starts to repeat a third time, it doesnâ€™t get to finish its full statement. Itâ€™s interrupted by a run up through the ensemble into a rollicking 7/8 section.With a rhythmic accompaniment underneath, the jaunty melody begins in the third clarinets. The upper instruments take over briefly in 6/8, then the tune returns to 7/8. After a quick breather, the accompaniment introduces an upward sweep motif. This alternates with the accompaniment pattern heard at the beginning of the 7/8 section.The lower voices then take control, driving downward into a different tonality and mood. An undulating accompaniment sets a dreamlike feel, with different voices quoting fragments of the theme. The accompaniment transfers between voices throughout the section, eventually changing back into a 3/4, then a 2/4 feel, resulting in a transition back to the original feel of the piece.The low voices get the melody, with rhythmic accompaniment and racing runs throughout the other sections. The melody goes a bit topsy-turvy before the group comes together in the descending quarter note motif from the beginning of the piece, bringing us to the coda. Thereâ€™s one final quote of the opening of the main theme from the low voices, leading to a whirlwind in the first and Eb with accented notes and suspensions underneath. The Eb pipes up with one last comment and the group closes out the piece.Also available for concert band (S0.708971)

$25.00 ≈ 23.26€

Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir

Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir #Clarinet Ensemble #INTERMEDIATE #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...(+)

Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. 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 ≈ 44.61€