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CHORAL VOCAL CHOIR
Not classified 529

Piano & keyboards
Piano, Voice 76
Piano, Vocal and Guitar 29
Piano solo 12
C Instruments 6
Piano Accompaniment 5

Easy Piano 3
Piano Trio: piano, violin, cello 1
Piano Quintet: piano, 2 violins, viola, cello 1

+ 3 instrumentations

- Retract

Guitars

Voice
Choral SATB 3,825
Choral 3-part 1,343
Choral TTBB 825
Choral 2-part 635
Choral SSAA 576

Choral Unison 553
Choral 24
Choral SSAATTBB 11
Vocal duet, Piano 8
Choral SSATB 7
Choral SSATBB 6
Voice solo 4
Soli, Mixted choir and accompaniment 3
Choral SSATTB 3
Vocal duet 2
Choral SSAB, Piano 2
Choral SSAB a cappella 1
Choral SATTB 1
Choral SSAATB 1

+ 14 instrumentations

- Retract

Woodwind
Clarinet Ensemble 5
Flute ensemble 5
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1
Saxophone (band part) 1
Recorder Quartet 1

Woodbrass
Trombone (band part) 5
Trumpet (band part) 3
Brass Quartet: 2 trumpets, horn, trombone 2
Trumpet, Trombone (duet) 2
3 Trombones (trio) 1

French horn 1
Brass Quintet: 2 trumpets, horn, trombone, tuba 1
Brass quartet : 2 trumpets, trombone, tuba 1

+ 3 instrumentations

- Retract

Strings
Violin 3
String Quartet: 2 violins, viola, cello 2
Cello 1
Cello (band part) 1
Viola (band part) 1

Double Bass 1

+ 1 instrumentations

- Retract

Percussion & orchestra
Handbells 10
Orchestra 9
String Orchestra 5
Brass ensemble 5
Jazz combo 4

Concert band 3

Chamber Orchestra 1
Drums 1

+ 3 instrumentations

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CHORAL VOCAL CHOIR

Concert band

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3 sheet music found

Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band

Gabrieli: Canzon Septimi Toni Ch 172 for Concert Band #Concert band #INTERMEDIATE #Gabrieli #James M #Gabrieli: Canzon Septimi Toni #jmsgu3 #SheetMusicPlus

Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jms...(+)

Concert Band - Level 3 - SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. 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 ≈ 44.23€

Gabrieli: Jubilate Deo Ch. 136 for Concert Band

Gabrieli: Jubilate Deo Ch. 136 for Concert Band #Concert band #EASY #Giovanni Gabrieli #James M #Gabrieli: Jubilate Deo Ch. 136 #jmsgu3 #SheetMusicPlus

Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #345...(+)

Concert Band - Level 2 - SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, 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, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics â€“ or was 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 indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group 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. 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. Gabrieliâ€™s later motets Sacrae Symphoniae (1597) seem to 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, the instruments are an essential part of the presentation, 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€“ called Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ 44.23€

Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band

Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band #Concert band #INTERMEDIATE #Gabrieli #James M #Gabrieli: Sonata Pian e Forte #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...(+)

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. 1Â PiccoloAtÂ leastÂ 2Â flutes,Â clarinets, altoÂ &Â tenorÂ saxesAtÂ leastÂ 1Â bassÂ clarinetAtÂ leastÂ Â 2Â trumpets,Â horns,Â trombonesÂ &Â tubas4Â 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 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 ≈ 44.23€