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We Can Work It Out
Not classified 162

Piano & keyboards
Piano solo 67
Piano, Vocal and Guitar 33
Piano, Voice 22
2 Pianos, 4 hands 22
Easy Piano 13

C Instruments 12
Organ 4
Big Note Piano 3
Piano Quartet: piano, violin, viola, cello 2
Piano Trio: piano, violin, cello 1
Organ, Piano (duet) 1
Piano Accompaniment 1
1 Piano, 4 hands 1

+ 8 instrumentations

- Retract

Guitars
Guitar notes and tablatures 24
Guitar 13
Melody line, (Lyrics) and Chords 12
Bass guitar 6
Ukulele 6

Lyrics and Chords 3
Banjo 1
4 Guitars (Quartet) 1
Dulcimer 1

+ 4 instrumentations

- Retract

Voice
Choral SATB 41
Choral 3-part 12
Choral 2-part 7
Choral SSAA 5
Choral TTBB 2

Vocal duet, Piano 1
Choral SSATTB 1

+ 2 instrumentations

- Retract

Woodwind
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 22
Clarinet Quartet: 4 clarinets 7
Saxophone (band part) 6
Alto Saxophone 6
Clarinet 6

Saxophone Quartet: 4 saxophones 6
Tenor Saxophone 5
Tenor Saxophone and Piano 5
Clarinet and Piano 4
Descant (Soprano) Recorder 4
Flute 4
Flute and Piano 3
Baritone Saxophone, Piano 3
Clarinet Ensemble 3

Oboe, Piano (duet) 3
Alto Saxophone and Piano 3
Soprano Saxophone and Piano 3
Soprano Saxophone 2
2 Flutes (duet) 2
Flute ensemble 2
Harmonica 2
Baritone Saxophone 2
Flute, Oboe, Clarinet, Bassoon 2
Clarinet Quintet: 5 clarinets 1
Oboe 1
Ocarina 1
Treble (Alto) Recorder, Piano 1
Clarinet, Harp (duet) 1
English horn, Harp (duet) 1

+ 24 instrumentations

- Retract

Woodbrass
Trumpet 8
Trombone 5
Trumpet (band part) 4
Trombone (band part) 4
French horn 3

Brass Quintet: 2 trumpets, horn, trombone, tuba 3
Trumpet, Trombone (duet) 3
Brass Quartet: 4 trombones 2
Trumpet, Piano 2
2 Trombones (duet) 2
Brass Quartet: 2 trumpets, horn, trombone 2
2 Trumpets (duet) 2
4 Tubas 2
Trombone and Piano 2
2 Tubas (duet) 2
French Horn and Piano 2
Brass quartet : 2 trumpets, trombone, tuba 1
Euphonium, Piano (duet) 1
Trumpet ensemble 1
Trumpet, Euphonium (duet) 1
Tuba and Piano 1
English horn, Harp (duet) 1

+ 17 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 25
Violin 6
Viola, Piano 6
Viola 6
Cello 4

Cello, Piano 3
String Quintet: 2 violins, viola, cello, bass 2
Violin, Cello (duet) 2
Violin, Viola (duet) 2
Violin and Piano 2
Harp, Flute (duet) 2
Cello (band part) 1
String Trio: violin, viola, cello 1
4 Double Basses 1
Double Bass 1
Harp 1
String Trio: 3 cellos 1
Double bass, Piano (duet) 1
Viola (band part) 1

+ 14 instrumentations

- Retract

Percussion & orchestra
Concert band 17
Brass ensemble 16
String Orchestra 8
Orchestra 7
Jazz Ensemble 5

Jazz combo 3
Percussion Ensemble 3
Chamber Orchestra 3
Handbells 2
Drums 2
Xylophone 2
Orchestra, Violin 1
Piano and Orchestra 1

+ 8 instrumentations

- Retract

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We Can Work It Out

Clarinet Ensemble

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3 sheet music found

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 ≈ 44.10€

Extinction Events for Clarinet Choir

Extinction Events for Clarinet Choir #Clarinet Ensemble #ADVANCED #Contemporary #John Gibson #Extinction Events for Clarinet #JB Linear #SheetMusicPlus

Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.581938 Composed by John Gibson. Contemporary. 102 pages. JB Linear #...(+)

Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 5 - Digital Download SKU: A0.581938 Composed by John Gibson. Contemporary. 102 pages. JB Linear #3494757. Published by JB Linear (A0.581938). Extinction Events by John Gibson Written for clarinet choir, it is a four movement work lasting about 11 minutes and is for very advanced players. The movements are: Buzzy Delights (Honey Bees), It Isn't Easy Being a Cuckoo, Jaguar Surprise, and Walrus Jump.Each movement imagines a different animal or insect living in its habitat as it gradually deteriorates. One might think this would be sad, violent music, but each earthly creature is shown in its musical habitat where it happily does what it does best....bees buzzing around flowers, cuckoos gently calling in the forest, Walruses jumping not so gracefully onto sea ice, Jaguars quietly stalking their prey. The habitat changes are depicted by gradual use of unstable scales, and the sometimes hidden ancient tune of the Dies Irae, the Day of Wrath.The point I wish to make is how humans must be watchful of wildlife habitats because we are all in this limited world together. Where wild creatures go, so do we. It was best said by Jane Goodall: Only if we understand can we care. Only if we care will we help. Only if we help shall they be saved.The parts included are: Eb soprano clarinet, Bb clarinet 1-2-3, alto clarinet (with an alternate 4th Bb clarinet part), bass clarinet, and BBb Contra/EEb Contralto.

$23.50 ≈ 21.62€

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

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

Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...(+)

Woodwind Ensemble Clarinet - Level 3 - Digital Download 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: Â 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 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. Â

$47.95 ≈ 44.10€