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In Concert! for Two part Choirs
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You've selected:
In Concert! for Two part Choirs
Sheetmusic to print
170 sheet music found
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151
In Concert! for Two-part Choirs
In Concert! for Two-part Choirs
#
Choral 2-part
#
In Concert! for Two-part Choir
#
Heritage Music Press
#
SheetMusicPlus
(Distinctive Repertoire For Two-Part Choirs). Edited by Mary Lynn Lightfoot. For Two-part choir, Optional Glockenspiel, Optional Windchimes, Optional Flute. Edu...
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(Distinctive Repertoire For Two-Part Choirs). Edited by Mary Lynn Lightfoot. For Two-part choir, Optional Glockenspiel, Optional Windchimes, Optional Flute. Educational Choral Collection. Patriotic, Spiritual. Published by Heritage Music Press
$9.95 ≈
8.91€
Partners in Spirituals
Partners in Spirituals
#
Choral 2-part
#
Sacred music
#
Jean Anne Shafferman
#
Choral Worship Collection
#
Partners in Spirituals
#
Jubilate Music Group - Digital
#
SheetMusicPlus
Choir Sacred (2-Part choir) - Digital Download 6 Spectacular Partner Songs for 2-Part Voices (Songbook). Composed by Jean Anne Shafferman. This edition...
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Choir Sacred (2-Part choir) - Digital Download 6 Spectacular Partner Songs for 2-Part Voices (Songbook). Composed by Jean Anne Shafferman. This edition: Songbook. Choral (Sacred); Choral Worship Collection; Church Partner Songs; Collections; Partner Songs; Performance Music Ensemble; Songbooks; Worship Resources. Children; Sacred; Spiritual. Book. 30 pages. Jubilate Music Group - Digital #00- 21014. Published by Jubilate Music Group - Digital
English.
Singers of all ages love to perform partner songs, and the Partners in Praise Series overflows with traditional melodies arranged in partner song fashion for children's, youth and adult choirs. Each songbook in the series provides a wonderful source of easily-prepared titles for worship and Christian school concerts, as well as reproducible song and narration sheets . . . no need to buy additional copies for the singers! Add the delightful short narratives before each song and create a medley of two or more songs for children's chapel, special Sunday school programs, vacation Bible school and adult fellowship events. Combine several groups of singers and perform all six songs with narration for a special 15-20 minute musical program. Partners in . . . Spirituals, the first installment in the series, includes six partner song arrangements of some of the best-loved spirituals of all time. Great for performance throughout the year, they also are appropriate for special occasions such as Christmas and Easter, Ascension, Christ the King and Pentecost, All Saints' and Lent, communion and peace Sunday, and evangelism or stewardship. Don't miss Tom Goeman's wonderfully orchestrated recording! Both a full performance/accompaniment CD recording and a money-saving Book/CD Kit are available separately. Titles Include: Glory Bound (This Train / When the Saints Go Marchin' In) * Peace Like a River, Kum Ba Yah * Good News! (Go, Tell It on the Mountain) * Carry Me Home (Swing Low, Sweet Chariot / Deep River) * Rise and Shine! * Sing with the Spirit! (I'm Gonna Sing When the Spirit Says Sing / I'm Gonna Sing, Sing, Sing).
$14.95 ≈
13.39€
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 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download 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 ≈
42.94€
Vive la Liberté! for two-part treble choir, flute, percussion, and piano
Vive la Liberté! for two-part treble choir, flute, percussion, and piano
#
Choral 2-part
#
EASY
#
Jenni Brandon
#
Vive la Liberté! for two-part
#
Jenni Brandon Music
#
SheetMusicPlus
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.918670 Composed by Jenni Brandon. Contemporary,Holiday,Patriotic. Octavo. 21 pages. Jenni Brandon ...
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.918670 Composed by Jenni Brandon. Contemporary,Holiday,Patriotic. Octavo. 21 pages. Jenni Brandon Music #2007315. Published by Jenni Brandon Music (A0.918670). Vive la Liberté! for Two-Part Treble choir, flute, percussion, piano (JB 114) by Jenni Brandon. Duration approx. 4:30 Text written and compiled by Jenni Brandon. Vive la Liberté! was commissioned in 2007 to celebrate the 250th birthday of the Marquis de Lafayette and to honor his constant belief in liberty and freedom for all people. This is a great work to program on a historical concert or a work celebrating freedom and liberty. Appropriate for younger choirs through college and community. Winner of the 2008 Roger Wagner Center for Choral Studies International Composition Competition in the Treble Category. Score includes parts for flute and percussion.Programming: Concert and ContestJenni Brandon Musicwww.jennibrandon.comASCAP
$2.00 ≈
1.79€
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 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pa...
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Concert Band - Level 2 - Digital Download 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 – or was 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 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. Gabrieli’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 – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
42.94€
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 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download 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 – 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 ≈
42.94€
Who Has Seen the Wind (Two-part)
Who Has Seen the Wind (Two-part)
#
Choral 2-part
#
Edwin T
#
Who Has Seen the Wind
#
Chorister's Guild - Digital
#
SheetMusicPlus
Two-part chorus - Digital Download SKU: C7.CGE5 Composed by Edwin T. Childs. General. Sing! With Flute (or C instrument). Octavo. 12 pages. Chorister's G...
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Two-part chorus - Digital Download SKU: C7.CGE5 Composed by Edwin T. Childs. General. Sing! With Flute (or C instrument). Octavo. 12 pages. Chorister's Guild - Digital #CGE5. Published by Chorister's Guild - Digital (C7.CGE5). UPC: 749193020845.We see and feel the effects of the wind – cold, warm, a slight breeze or a fierce blow – but can we really see it? Christina Rossetti's intriguing poem about the mysteriousness of the wind provides the text for this engaging, gentle concert offering for young and developing choirs. The flute provides interesting color and a distinctive third part when both vocal parts unite in an effective partner song format.
$2.10 ≈
1.88€
Waiting for the Snow (2-Part Choir, Piano Accompaniment)
Waiting for the Snow (2-Part Choir, Piano Accompaniment)
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Choral 2-part
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EASY
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Cathy Stamegna
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Cathy Stamegna
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Waiting for the Snow
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Cathy Stamegna
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SheetMusicPlus
Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.781026 Composed by Cathy Stamegna. Arranged by Cathy Stamegna. Children,Christmas,Contemporary...
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Choral Choir (2-Part) - Level 2 - Digital Download SKU: A0.781026 Composed by Cathy Stamegna. Arranged by Cathy Stamegna. Children,Christmas,Contemporary,Holiday. Octavo. 12 pages. Cathy Stamegna #6453805. Published by Cathy Stamegna (A0.781026). Accessible and appropriate for young choirs singing in two parts. As singers anticipate the snow, they sing about the beautiful snowflakes, falling so gently, but also discuss the fun they will have making a snowman, building a fort, sledding, and throwing snowballs. A light and fun piece for your holiday or winter concert. Performance Time: 2:33.
$2.25 ≈
2.02€
Songs without Words (2-part/3-part choral collection)
Songs without Words (2-part/3-part choral collection)
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Choral 3-part
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BEGINNER
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Anthony Giamanco
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Songs without Words
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Whole Tone Press
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SheetMusicPlus
Choral Choir (SAB) - Level 1 - Digital Download SKU: A0.773889 Composed by Anthony Giamanco. Children,Concert,Graduation,Instructional. Octavo. 35 pages....
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Choral Choir (SAB) - Level 1 - Digital Download SKU: A0.773889 Composed by Anthony Giamanco. Children,Concert,Graduation,Instructional. Octavo. 35 pages. Whole Tone Press #6055715. Published by Whole Tone Press (A0.773889). Here is a collection of six distinctive choral pieces, wordless songs, ideal for middle school and high school choirs. They are arranged for 2-part treble voices with an optional third part well-suited to boys' changing voices. All include piano accompaniment. I've created this collection to be used in one or more of the following ways: ♫ Any piece may be utlised, in whole or in part, as a vocalise (using neutral syllables). ♫ They may be used, individually or collectively, as concert material. No.'s 5 and 6 include optional lyrics. ♫ The songs may be programmed in any order desired. ♫ They may be used in either a live or virtual setting. ♫ Each song may be performed by either 2-part treble voices only or by adding (opt.) part III, ideal for boys' changing voices. 35 pages.Two of the selections, Somewhere (No. 5) and Wand'ring (No. 6), are available for purchase separately on my publisher page.Anthony Giamanco is a member of ASCAP. His many piano, organ, choir, and chamber works are in the catalogs of numerous publishers including GIA, Shawnee Press, Alfred, Augsburg Fortress, Lorenz, and others. His pieces also can be purchased through sheetmusicplus.com, Sheet Music Marketplace, and JW Pepper.Anthony's music can be heard on his website, anthonygiamanco.com, https://www.anthonygiamanco.com,on SoundCloud (https://soundcloud.com/tony-giamanco),and on his YouTube channel (https://www.youtube.com/channel/UC09EezLz7GUoMhNrc5Y8jBg)Contact info:tony@shalomlife.org.
$6.99 ≈
6.26€
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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Flute ensemble
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INTERMEDIATE
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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 Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 ...
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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 – 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 ≈
42.94€
Mozart's At the Window [Two-Part Treble]
Mozart's At the Window [Two-Part Treble]
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Choral 2-part
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EASY
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Classical
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Wolfgang Amadeus Mozart
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Gunnar Madsen, Laurie Betts Hu
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Mozart's At the Window [Two-Pa
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Dandelion Music Press
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SheetMusicPlus
Choral Choir (SA) - Level 2 - Digital Download SKU: A0.891216 Composed by Wolfgang Amadeus Mozart. Arranged by Gunnar Madsen, Laurie Betts Hughes. Childr...
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Choral Choir (SA) - Level 2 - Digital Download SKU: A0.891216 Composed by Wolfgang Amadeus Mozart. Arranged by Gunnar Madsen, Laurie Betts Hughes. Children,Classical,Contemporary. Octavo. 14 pages. Dandelion Music Press #3106871. Published by Dandelion Music Press (A0.891216). If you are looking to lighten your concert, to program real music, or a piece with rapid text delivery satisfying to mid-level treble choirs and treble community choirs, bring this hilarious 3 minute piece to your outstanding accompanist-pianist and your developing ensemble. Debuted for choir during an educational outreach concert for children with families, Mozart's At the Window is also an effective selection or encore for a Mozart concert, or standing on its own. Piece features lots of vocal doubling and is fully supported by a pianistic reduction-- this piece shines with an amazing accompanist.The choral arranger writes: After getting absolutely sick of the inane music I'd been playing for my young children in the car, I was elated to discover Gunnar Madsen's CD I'm Growing featuring Mozart's At the Window. The kids were delighted with this funny song about some naughty kid, and my husband and I were delighted with the enormous improvement of musical quality in our vehicle. It was shortly thereafter that this choral arrangement was born.Gunnar writes: In my first music theory class in college, the teacher and the students were recalling the silly ways they'd been taught to remember classical melodies when they were young. One of them was for Mozart's 40th symphony (which I'd never heard) which consisted of Now Mozart's at the window - Let him in, Let him in, Let him in. What an ear-worm! For 25 years now I've dreamt of expanding that ditty into something more substantial, and now I'm proud to present the finished piece. I'm really going to get a kick of sending this one to my teacher!Also available in SATB voicingMusic abridged from W. A. Mozart's Symphony No.40 in G minor, K.550 IV. Allegro assai2017 Choral Contest EntryText and concept by Gunnar Madsen, ASCAP | http://www.gunnarspot.com/Arranged for choir by Laurie Betts Hughes, ASCAP | www.LaurieBettsHughes.com
$2.10 ≈
1.88€
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Flute ensemble
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INTERMEDIATE
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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 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 ...
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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 – 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 ≈
42.94€
A Fork in the Road
A Fork in the Road
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Choral 2-part
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INTERMEDIATE
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Shirley M
#
2016 Arrangement New Release
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A Fork in the Road
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Shirley M. Evans
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SheetMusicPlus
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.789616 Composed by Shirley M. Evans smchoir@hotmail.com. Arranged by 2016 Arrangement New Release....
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.789616 Composed by Shirley M. Evans smchoir@hotmail.com. Arranged by 2016 Arrangement New Release. Concert,Contemporary,Instructional,Standards. Octavo. 6 pages. Shirley M. Evans #1920603. Published by Shirley M. Evans (A0.789616). A two-part song for SA voices and piano accompaniment. It would be appropriate for schools or SA choirs. Duration: Approx. 3 minutes.
$1.99 ≈
1.78€
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
#
SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Bass Trombone,Trumpet - Level 3 - Digital Download 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 ≈
42.94€
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 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download 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 ≈
42.94€
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
#
SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download 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 ≈
42.94€
A Cappella! Volume 1 - Two Part Treble Choral Edition
A Cappella! Volume 1 - Two Part Treble Choral Edition
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Choral 2-part
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Amy F Bernon, Mary Lynn Lightf
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Vocabulary
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A Cappella! Volume 1 - Two Par
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Chorister's Guild - Digital
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SheetMusicPlus
Two-part chorus - Digital Download SKU: C7.CGE92 9 Selections for Concert and Festival by Amy F. Bernon, Victor C. Johnson and Mary Lynn Lightfoot...
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Two-part chorus - Digital Download SKU: C7.CGE92 9 Selections for Concert and Festival by Amy F. Bernon, Victor C. Johnson and Mary Lynn Lightfoot. Composed by Amy F Bernon, Mary Lynn Lightfoot, and Victor C Johnson. General. Sing! With a cappella. Choral Collection. 36 pages. Chorister's Guild - Digital #CGE92. Published by Chorister's Guild - Digital (C7.CGE92). Sing! is proud to present this superb new a cappella collection from creative writers Amy F. Bernon, Victor C. Johnson and Mary Lynn Lightfoot featuring nine concert and festival selections for young and developing Two-part treble choirs. The Complete Edition is reproducible and also includes a Rehearsal Resource Page for each piece, a unique and valuable teaching/rehearsal tool which features Solfege; Vocabulary; and Preparation and Extention activities, carefully crafted by Victor C. Johnson. The Choral Edition, ideal for use as a judge's copy or for your singers, is not reproducible and the Rehearsal Resource Pages are not included. Comprised of one spiritual arrangement, one folk song arrangement and seven original selections in a variety of styles and including texts by famous poets Robert Louis Stevenson and Sara Teasdale, this collection is an exceptional value and a great resource for your music library. Includes: Cantate! (Mary Lynn Lightfoot); Zum Gali Gali (Arr. by Victor C. Johnson); Hummingbird and Butterfly (Amy F. Bernon); Where Go the Boats? (Victor C. Johnson); Ezekiel Saw the Wheel (Arr. by Mary Lynn Lightfoot); Norman Rockwell Was a Painter (Amy F. Bernon); Ubi Caritas (Victor C. Johnson); Buckets of Barley (Amy F. Bernon); Peace Flows Into Me (Mary Lynn Lightfoot).
$8.95 ≈
8.02€
Jingle Boogie (A Boogie-Woogie Jingle Bells for 2-Part Choir)
Jingle Boogie (A Boogie-Woogie Jingle Bells for 2-Part Choir)
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Choral 2-part
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BEGINNER
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Christmas
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James Pierpont
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Joanna Mills
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Jingle Boogie
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Joanna Mills Music
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SheetMusicPlus
Choral Choir (2-Part) - Level 1 - Digital Download SKU: A0.781287 Composed by James Pierpont. Arranged by Joanna Mills. Blues,Christmas,Jazz,Pop,Rock. Oc...
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Choral Choir (2-Part) - Level 1 - Digital Download SKU: A0.781287 Composed by James Pierpont. Arranged by Joanna Mills. Blues,Christmas,Jazz,Pop,Rock. Octavo. 8 pages. Joanna Mills Music #3681211. Published by Joanna Mills Music (A0.781287). Get your children's or youth choir excited about that upcoming Holiday concert with this boogie-woogie version of the classic Jingle Bells! Set for two-part choir in an accessible key, this will be a quick learn for your singers, and they'll love the surprising boogie-woogie touches as the songs progresses to the final big ending. A perfect last-minute program addition for more experienced choirs too! Approximate performance time 2:20. Also available for unison choir!
$1.99 ≈
1.78€
Once in Royal David's City
Once in Royal David's City
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Choral 2-part
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INTERMEDIATE
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Words: C
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Thomas Quigley
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Once in Royal David's City
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Thomas Quigley
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SheetMusicPlus
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.732274 Composed by Words: C. F. Alexander/ Music: H. J. Gauntlett. Arranged by Thomas Quigley. Chr...
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.732274 Composed by Words: C. F. Alexander/ Music: H. J. Gauntlett. Arranged by Thomas Quigley. Christian,Christmas,Concert,Sacred. Octavo. 7 pages. Thomas Quigley #6136793. Published by Thomas Quigley (A0.732274). If you need a fine two-part version of a famous Carol, this arrangement, with excellent part-writing and an inventive piano accompaniment is the ideal choice. Great to perform, it has plenty of energy, rhythm and harmonic color. Perfect for school choirs!
$1.99 ≈
1.78€
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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Cello
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INTERMEDIATE
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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
Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #346...
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Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. 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.
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In Concert! for Two part Choirs
