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The First Antiphon
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49
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Vous avez sélectionné:
The First Antiphon
Partitions à imprimer
49 partitions trouvées
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Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Double Saxophone Choir
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental 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 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 ≈
£37.37
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
Gabrieli: Canzon Septimi Toni Ch 172 for Double String Quartet
#
Gabrieli
#
James M
#
Gabrieli: Canzon Septimi Toni
#
jmsgu3
#
SheetMusicPlus
Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Publishe...
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Strings - Level 3 - SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. Instrumental 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. www.jamesguthrie.com.
$47.95 ≈
£37.37
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Double Reed Choir
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - 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 ≈
£37.37
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
#
jmsgu3
#
SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - 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 ≈
£37.37
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Double Reed Choir
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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 Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Stan...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462151. Published by jmsgu3 (A0.549205). Minimum instrumentation: 8 double reeds (or multiples) arranged in 2 antiphonal choirs. 4 oboes, 2 English horns, 1 bassoon, 1 contrabassoon (or 2 bassoons). 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 ≈
£37.37
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
Gabrieli: Jubilate Deo Ch. 136 for Low Brass Choir
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Giovvanni Gabrieli
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James M
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3 tubas
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. P...
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Level 3 - SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3457617. Published by jmsgu3 (A0.549196). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 3 trombones, 3 euphoniums & 3 tubas. Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult 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 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 ≈
£37.37
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult 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 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. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95 ≈
£37.37
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
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festiva...
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Bass Trombone,Trumpet - Level 3 - 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 ≈
£37.37
An Antiphonal Noel
An Antiphonal Noel
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Joel Raney
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An Antiphonal Noel
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Hope Publishing - Digital
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SheetMusicPlus
Choral, Handbell SATB choir & unison choir (or soloist) with 6 handbells (or keyboard) - SKU: H1.C6052DP Composed by Joel Raney. Piano with Optional Uni...
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Choral, Handbell SATB choir & unison choir (or soloist) with 6 handbells (or keyboard) - SKU: H1.C6052DP Composed by Joel Raney. Piano with Optional Unison Choir (or Soloist) with 6 Handbells (or Keyboard). Sing & Ring Series. Ring & Sing, Christmas, Sacred. Octavo. 4 pages. Hope Publishing - Digital #C6052DP. Published by Hope Publishing - Digital (H1.C6052DP). Joel Raney. Luke 2:8.Original anthem Here is a piece that can be used as a choral introit or a processional during the Christmas season. It also functions as a seamless introduction to the congregational singing of The First Noel. A simple ostinato pattern for 6 handbells provides the accompaniment as Unison and SATB choirs sing an 'echo and response,' welcoming in Christmas with their joyous noels.
$2.75 ≈
£2.14
Sonata Pian ‘e Forte for 8-part Antiphonal Trombone Ensemble
Sonata Pian ‘e Forte for 8-part Antiphonal Trombone Ensemble
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Giovanni Gabrieli
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Russell McKinney
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Pian
 
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Sonata Pian ‘e Forte for
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - SKU: A0.792814 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and...
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Brass Ensemble Trombone - Level 5 - SKU: A0.792814 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and parts. 14 pages. Gordon Cherry #6641859. Published by Gordon Cherry (A0.792814). Gabrieli's Sonata Pian 'e Forte for 8-part Antiphonal Trombone Ensemble has been beautifully arranged (down a fifth from the original key) by Russel McKinney. The work (Ch.175) is part of the 1597 Sacrae symphoniae, published posthumously which contains sixty-three choral and instrumental works, many in multi-choir formations. This 8-part Sonata is in two choirs....a high one and a low one (in this case choir II uses three bass trombones with an optional Contrabass Trombone!)The most unique aspect of this masterpiece is its use of printed dynamics...originally thought to be the first work of its sort; Pian (soft) and Forte (loud). These dynamic markings are central to the structure of the work.This 4 1/2 minute work is appropriate for moderately advanced to advanced performers. Parts 1 A and B are in tenor clef. Parts 4A, 2B,2C & 2D are for Tenor-Bass or Bass Trombones. Part 4B may be performed by a Contrabass Trombonist.The dramatic performance of the sound sample is by the arranger himself, Bass Trombonist Russell McKinney playing both tenor and bass trombones.The most unique aspect of this masterpiece is its use of printed dynamics...originally thought to be the first work of its sort; Pian (soft) and Forte (loud). These dynamic markings are central to the structure of the work.This 4 1/2 minute work is appropriate for moderately advanced to advanced performers. Parts 1 A and B are in tenor clef. Parts 4A, 2B,2C & 2D are for Tenor-Bass or Bass Trombones. Part 4B may be performed by a Contrabass Trombonist.
$22.50 ≈
£17.53
Was It The Wind? (SATB+TTBB+Piano)
Was It The Wind? (SATB+TTBB+Piano)
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Jack Curtis Dubowsky
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Was It The Wind?
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De Stijl Music Digital
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SheetMusicPlus
Chorus SATB + TTBB + Piano (SATB + TTBB) - Intermediate - SKU: D3.SM-16-0002A Composed by Jack Curtis Dubowsky. Choral. Contemporary; secular. Sheet mus...
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Chorus SATB + TTBB + Piano (SATB + TTBB) - Intermediate - SKU: D3.SM-16-0002A Composed by Jack Curtis Dubowsky. Choral. Contemporary; secular. Sheet music. 31 pages. De Stijl Music Digital #SM-16-0002A. Published by De Stijl Music Digital (D3.SM-16-0002A). 8.5 x 11 inches.Ina Coolbrith (1841-1928) was the first California Poet Laureate. Was it the Wind? premiered at GALA Choral Festival 2016. Was it the Wind? is the last stanza of the poem California from Songs From the Golden Gate (1895). Themes of nature, wind, water, sunset, the Golden Gate, Mount Tamalpais, and Sausalito. For two antiphonal choirs.
$4.95 ≈
£3.86
Gabrieli: Sonata Pian e Forte Ch 175 for Cello Choir
Gabrieli: Sonata Pian e Forte Ch 175 for Cello 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
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SheetMusicPlus
String Ensemble Cello - Level 2 - SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards...
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String Ensemble Cello - Level 2 - SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.  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 ≈
£37.37
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Saxophone 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
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SheetMusicPlus
Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3...
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Woodwind Ensemble - Level 3 - SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3465026. Published by jmsgu3 (A0.549214). A musical monument: the first known composition in history to employ dynamics. Minimum Instrumentation: 2 sopranos, 5 altos, 3 tenors, and 1 baritone sax. 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 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 ≈
£37.37
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch
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jmsgu3
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SheetMusicPlus
Brass Ensemble Cornet,Horn,Trombone - Level 3 - SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music...
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove 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 WorksFinally, 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.HomophonyHence, 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 ≈
£37.37
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar &ag
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early M...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli 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 WorksGabrieli 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 MusicAbove 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 WorksFinally, 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.HomophonyHence, 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 ≈
£37.37
Rondeau from Abdelazer for Antiphonal Brass Choir
Rondeau from Abdelazer for Antiphonal Brass Choir
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Henry Purcell
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Charles Decker
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Rondeau from Abdelazer for Ant
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Charles Decker Music Press
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SheetMusicPlus
Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet - SKU: A0.1225513 Composed by Henry Purcell. Arranged by Charles Decker. Baroque,Chamber,Contest,Fes...
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Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet - SKU: A0.1225513 Composed by Henry Purcell. Arranged by Charles Decker. Baroque,Chamber,Contest,Festival,Film/TV. 28 pages. Charles Decker Music Press #821584. Published by Charles Decker Music Press (A0.1225513). Familiar to audiences worldwide as the theme for Benjamin Britten’s 1946 A Young Person’s Guide to the Orchestra, Purcell’s stately and majestic “Rondeau from Abdelazer†is from incidental music he composed for the 1678 play “The Moor’s Revenge.† The elegant Rondeau has been used as the theme for films and television programs. Scored for two antiphonal brass quartets of two B-flat trumpets and two trombones, alternate parts C trumpet and substitute F horn for trombone 1 of each quartet are provided. Increasingly ornamented first trumpet parts adds to musical excitement of antiphonal brass. Beyond brass programs or special events, consider featuring the trumpet and trombone sections on your next band or orchestra concert with this impressive work. The recording is of the entire arrangement.See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.  For more brass quintet editions by Charles Decker use these links to Kendor Music and Cherry Classics Music for listings of my arrangements of music by J.S. Bach, H.L. Clarke, Debussy, Dukas, Elgar, Falla, Holst, Ives, Nestico, Rachmaninoff, Satie, and Tchaikovsky.
$13.95 ≈
£10.87
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli 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 particular 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 WorksGabrieli 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.Spatial MusicAbove 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 WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized 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 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, 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. 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.
$47.95 ≈
£37.37
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli 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 instead 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 particular 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 WorksGabrieli 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.Spatial MusicAbove 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 sound perfectly in balance in contrast.First WorksFinally, 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 shown 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 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 an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
£37.37
Ante luciferum genitus
Ante luciferum genitus
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Jacobus Handl
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Ante luciferum genitus
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Oxford University Press Digital
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SheetMusicPlus
SSSAA chorus unaccompanied - SKU: OX.9780193552852 Composed by Jacobus Handl. Edited by Mark Keane. Sheet music. Octavo. 4 pages. Oxford University Pres...
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SSSAA chorus unaccompanied - SKU: OX.9780193552852 Composed by Jacobus Handl. Edited by Mark Keane. Sheet music. Octavo. 4 pages. Oxford University Press Digital #9780193552852. Published by Oxford University Press Digital (OX.9780193552852). ISBN 9780193552852.For SSSAA unaccompanied. Ante luciferum genitus is the first antiphon of Lauds for the Feast of the Epiphany and culminates with cascading, descending 'alleluia's. Originally scored for lower voices, the motet is presented here an octave higher and is very effective for upper voices.
$2.85 ≈
£2.22
Bless His Holy Name (Downloadable Choral Score)
Bless His Holy Name (Downloadable Choral Score)
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Mark Shepperd
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Bless His Holy Name
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
2-part mixed voices and piano, with optional congregation, descant, and handbells (3–5 octaves) - Moderately Easy - SKU: MQ.50-6147-E Composed by...
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2-part mixed voices and piano, with optional congregation, descant, and handbells (3–5 octaves) - Moderately Easy - SKU: MQ.50-6147-E Composed by Mark Shepperd. 11 pages. MorningStar Music Publishers - Digital Sheet Music #50-6147-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-6147-E). English. Psalm 103.A lilting 6/8 setting of Psalm 103, this could be a useful anthem with the optional handbells, but it was designed to involve the congregation. First the choir sings the antiphon and the congregation copies it. The choir sings a verse, and when the antiphon returns it is sung in canon. Then another verse and then the antiphon with descant and a seven measure concluding coda for the choir alone.
$2.65 ≈
£2.07
Magnificat
Magnificat
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Classique
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Charles Theodore Pachelbel
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Don Miller
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Magnificat
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Donald Miller Music
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SheetMusicPlus
Small Ensemble Guitar - SKU: A0.1027223 Composed by Charles Theodore Pachelbel. Arranged by Don Miller. Baroque. Score and parts. 61 pages. Donald Mille...
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Small Ensemble Guitar - SKU: A0.1027223 Composed by Charles Theodore Pachelbel. Arranged by Don Miller. Baroque. Score and parts. 61 pages. Donald Miller Music #6455751. Published by Donald Miller Music (A0.1027223). At this writing, this transcription appears to be the first double quartet for guitar ensemble in the entire guitar ensemble repertoire. The work was originally premiered in Colonial America during the first concert documented in New York City as a composition for double chorus and continuo. It is believed after Pachelbel presented concerts in New York City during the period of January through March 1736, he moved to Charleston, South Carolina.This work may be performed as a double quartet or by multiple guitars on each part. If multiple guitars are used, an equal number of players should be present in each group. It is very important to separate the two groups spatially from one another to provide the desired antiphonal effects.
$25.00 ≈
£19.48
Hodie Christus Natus Est (2 Trumpet Quintets)
Hodie Christus Natus Est (2 Trumpet Quintets)
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Jan P
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Regis Bookshar
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Hodie Christus Natus Est
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Regis Bookshar
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SheetMusicPlus
Brass Ensemble Trumpet - Level 3 - SKU: A0.813017 Composed by Jan P. Sweelinck. Arranged by Regis Bookshar. Baroque,Christmas,Multicultural,Standards,Wo...
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Brass Ensemble Trumpet - Level 3 - SKU: A0.813017 Composed by Jan P. Sweelinck. Arranged by Regis Bookshar. Baroque,Christmas,Multicultural,Standards,World. Score and parts. 44 pages. Regis Bookshar #6048277. Published by Regis Bookshar (A0.813017). 2 Trumpet Quintets - Intermediate - . This selection, Hodie Christus Natus Est (Today Christ is Born), was originally a vocal motet written by Jan P. Sweelinck and has been arranged for 2 Trumpet Quintets by Regis Bookshar and is one of the many arrangements from The Regis Bookshar Trumpet Ensemble's extensive music library that are being made available for the first time. I envision this arrangement to be performed antiphonally. It is perfect for Christmas concerts and church services but could be performed for other festive occasions as well. It is suitable for high school and college students. Included is a score and a complete set of parts (44 pages). Also available are other arrangements of this motet for a variety of instrumental ensembles as well as numerous other arrangements in a variety of styles. Please feel free to search for arrangements by Regis Bookshar. You may find something else which might interest you as well. I'm certain that students will enjoy playing this selection.
$30.00 ≈
£23.38
Two Miniatures
Two Miniatures
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Graham Nelson
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Two Miniatures
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Forton Music - Digital
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SheetMusicPlus
Ob. Cl. Bsn. - Intermediate - SKU: F2.FM511 Composed by Graham Nelson. Oboe Clarinet and Bassoon. Score and Parts. 19 pages. Forton Music - Digital #FM5...
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Ob. Cl. Bsn. - Intermediate - SKU: F2.FM511 Composed by Graham Nelson. Oboe Clarinet and Bassoon. Score and Parts. 19 pages. Forton Music - Digital #FM511. Published by Forton Music - Digital (F2.FM511). ISBN 9790570484102.My fascination with the timbral qualities and myriad colours of the woodwind family was the stimulus that led to the creation of these two short pieces for this combination. Composed a number of years ago, both have been revised in the light of experience gained over the passage of time. Aside from the fanfare-like opening, each Miniature is cast in ternary form. The harmonic language could best be described as neo-tonal but with a chromatic twist (notably in the second). Melodic opportunities are shared consistently between the three instruments, often being extended by imitative interplay or antiphonal exchange (especially in the first). A recurring rhythmic motif in both pieces - a dotted quaver idea in the former and a triplet quaver figure in the latter - helps to bind the texture together. The descriptive titles are intended to convey the underlying character of each: 'The Dancing Doll' should sound bright, breezy and playful, whereas 'The Doleful Doll' is much more introspective and reflective in mood. Finally, the technical and musical demands in the two Miniatures should be within the capabilities of players of intermediate to advanced standard.
$12.95 ≈
£10.09
Sonata Pian e Forte
Sonata Pian e Forte
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Giovanni Gabrieli
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Marc Donatelle
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Sonata Pian e Forte
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Marc Donatelle
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SheetMusicPlus
String Ensemble Cello - Level 5 - SKU: A0.1440609 Composed by Giovanni Gabrieli. Arranged by Marc Donatelle. Chamber,Classical,Early Music. 40 pages. Ma...
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String Ensemble Cello - Level 5 - SKU: A0.1440609 Composed by Giovanni Gabrieli. Arranged by Marc Donatelle. Chamber,Classical,Early Music. 40 pages. Marc Donatelle #1020587. Published by Marc Donatelle (A0.1440609). Published in 1597, this Gabrieli compostion is among the first musical pieces specifying loud and soft dynamics in print.Usually performed by brass ensembles, it lends itself well to the celli.The Octet is divied into two Choirs of 4, separated left and right for the antiphonal effect. Detailed performance dynamics are provided to encourage individual lines, and the Choir 1-Cello 1 has two written parts to choose - either tenor or treble clef.
$20.00 ≈
£15.59
Lo! How a Rose E'er Blooming (Mixed Duet)
Lo! How a Rose E'er Blooming (Mixed Duet)
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Traditional
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Roger Wallace
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Lo! How a Rose E'er Blooming
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Roger Wallace
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SheetMusicPlus
Instrumental Duet - Level 4 - SKU: A0.515484 Composed by Traditional. Arranged by Roger Wallace. Baroque,Christmas,Sacred. 24 pages. Roger Wallace #6638...
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Instrumental Duet - Level 4 - SKU: A0.515484 Composed by Traditional. Arranged by Roger Wallace. Baroque,Christmas,Sacred. 24 pages. Roger Wallace #6638415. Published by Roger Wallace (A0.515484). Christmas Duet with Multiple Part Options. The melody of this hymn (in chorale style) is introduced in the first verse. The second verse includes a counter melody by the second part. The third verse features an antiphonal line by the first part accompanying the melody played by the second part. Designed mainly for family groups such as brass, woodwinds and strings. Mixing voice types can be done with care. See cover sheet on arrangement for instrumentation. The audio sample (Listen) represents a Brass Duet (Trumpet, Trombone). The YouTube sample (“Watchâ€) represents a Woodwind Duet (Flute, Clarinet).This arrangement is also available for many other ensembles and soloists. Look for more arrangements by Roger Wallace.
$3.99 ≈
£3.11
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