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Sonata para Double Bass
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Vous avez sélectionné:
Sonata para Double Bass
Partitions à imprimer
33 partitions trouvées
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26
Sonata para Double Bass
Sonata para Double Bass
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Contre Basse
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Henry Eccles
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Yuri Braga
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Sonata para Double Bass
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Yuri Braga
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SheetMusicPlus
Double Bass,String Bass Solo - Level 4 - SKU: A0.928070 Composed by Henry Eccles. Arranged by Yuri Braga. Baroque. Individual part. 3 pages. Yuri Braga ...
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Double Bass,String Bass Solo - Level 4 - SKU: A0.928070 Composed by Henry Eccles. Arranged by Yuri Braga. Baroque. Individual part. 3 pages. Yuri Braga #4718213. Published by Yuri Braga (A0.928070).
$9.00 ≈
8.41€
Sonata op. 28 no. 2 in C major for cello and basso
Sonata op. 28 no. 2 in C major for cello and basso
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Violoncelle, Contrebasse (duo)
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DÉBUTANT
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Jean-Baptiste Breval
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Sonata op. 28 no. 2 in C major
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841357 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele ...
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841357 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 18 pages. Artistic Score Engraving di Galvagno Michele #6036587. Published by Artistic Score Engraving di Galvagno Michele (A0.841357). This is a separate edition containing only the second of the six sonatas for cello and basso op. 28 by J. B. Bréval. The edition containing the six sonatas in a bundle at a greatly discounted price is also available. This edition contains a full score and a set of parts.
$3.50 ≈
3.27€
Sonata op. 28 no. 3 in A major for cello and basso
Sonata op. 28 no. 3 in A major for cello and basso
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Violoncelle, Contrebasse (duo)
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DÉBUTANT
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Jean-Baptiste Breval
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Sonata op. 28 no. 3 in A major
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841358 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele ...
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841358 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 14 pages. Artistic Score Engraving di Galvagno Michele #6037233. Published by Artistic Score Engraving di Galvagno Michele (A0.841358). This is a separate edition containing only the third of the six sonatas for cello and basso op. 28 by J. B. Bréval. The edition containing the six sonatas in a bundle at a greatly discounted price is also available. This edition contains a full score and a set of parts.
$3.50 ≈
3.27€
Sonata op. 28 no. 6 in F major for cello and basso
Sonata op. 28 no. 6 in F major for cello and basso
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Violoncelle, Contrebasse (duo)
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DÉBUTANT
#
Jean-Baptiste Breval
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Sonata op. 28 no. 6 in F major
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Artistic Score Engraving di Galvagno Michele
#
SheetMusicPlus
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841361 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele ...
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841361 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 20 pages. Artistic Score Engraving di Galvagno Michele #6052407. Published by Artistic Score Engraving di Galvagno Michele (A0.841361). This is a separate edition containing only the sixth of the six sonatas for cello and basso op. 28 by J. B. Bréval. The edition containing the six sonatas in a bundle at a greatly discounted price is also available. This edition contains a full score and a set of parts.
$3.50 ≈
3.27€
Sonata op. 28 no. 4 in G major for cello and basso
Sonata op. 28 no. 4 in G major for cello and basso
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Violoncelle, Contrebasse (duo)
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DÉBUTANT
#
Jean-Baptiste Breval
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Sonata op. 28 no. 4 in G major
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841359 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele ...
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841359 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 14 pages. Artistic Score Engraving di Galvagno Michele #6037237. Published by Artistic Score Engraving di Galvagno Michele (A0.841359). This is a separate edition containing only the fourth of the six sonatas for cello and basso op. 28 by J. B. Bréval. The edition containing the six sonatas in a bundle at a greatly discounted price is also available. This edition contains a full score and a set of parts.
$3.50 ≈
3.27€
Sonata op. 28 no. 5 in B-flat major for cello and bass
Sonata op. 28 no. 5 in B-flat major for cello and bass
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Violoncelle, Contrebasse (duo)
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DÉBUTANT
#
Jean-Baptiste Breval
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Sonata op. 28 no. 5 in B-flat
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Artistic Score Engraving di Galvagno Michele
#
SheetMusicPlus
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841360 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele ...
(+)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841360 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 20 pages. Artistic Score Engraving di Galvagno Michele #6052405. Published by Artistic Score Engraving di Galvagno Michele (A0.841360). This is a separate edition containing only the fifth of the six sonatas for cello and basso op. 28 by J. B. Bréval. The edition containing the six sonatas in a bundle at a greatly discounted price is also available. This edition contains a full score and a set of parts.
$3.50 ≈
3.27€
Sonata pour Piano et Violoncelle, in F major, Op.67.
Sonata pour Piano et Violoncelle, in F major, Op.67.
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Violoncelle, Piano
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AVANCÉ
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Melanie
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Zellev
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Sonata pour Piano et Violoncel
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Zellev Music
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SheetMusicPlus
Cello,Piano - Level 5 - SKU: A0.910914 Composed by Melanie (Mel) Bonis. Arranged by Zellev. 20th Century,Concert,Musical/Show,Romantic Period,Wedding. S...
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Cello,Piano - Level 5 - SKU: A0.910914 Composed by Melanie (Mel) Bonis. Arranged by Zellev. 20th Century,Concert,Musical/Show,Romantic Period,Wedding. Score and part. 29 pages. Zellev Music #6286933. Published by Zellev Music (A0.910914). the piece is relatively unknown to the major cellist and piano front.Mélanie Hélène Bonis, known as Mel Bonis (21 January 1858 – 18 March 1937), was a prolific French late-Romantic composer. She wrote more than 300 pieces, including works for piano solo and four hands, organ pieces, chamber music, mélodies, choral music, a mass, and works for orchestra. She attended the Paris Conservatoire, where her teachers included Cesar Franck, Ernest Guiraud, and Auguste Bazille. the piece consisted of 3 movements. Moderato quasi Andante - AllegrettoTrès lentFinal. Moderato molto - Allegro con fuoco - Quasi andante - Lento - Mouvement de l'allegro - Vivo - Mouvement de l'allegro - Maestoso - Mouvement de l'allegro sans presserit was dedicated to A Maurice Demaison. A masterpiece by Mel Bonis, French female composer who isn't forgotten, she just isn't yet discovered by the wide audience. My five cents to make it happen. This is just one of more than 300 compositions from her ouevre. Originally, it is composed for violoncello and piano, but the majority of cellists seem not to care very much about its existence... and we, double bassists are missing so badly such great sonatas -Božo Paradžik
$14.55 ≈
13.59€
Gabrieli: Sonata Pian e Forte Ch. 175 for String Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for String 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
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SheetMusicPlus
String Ensemble - Level 2 - SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. Jmsgu3 #3464715. ...
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String Ensemble - Level 2 - SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. Jmsgu3 #3464715. Published by jmsgu3 (A0.549211). A musical monument: the first composition to employ dynamics. Instrumentation: 2 violins, 1 viola, 5 cellos 1 double bass. Arranged in two antiphonal choirs: I - string quartet, II - cello choir w/bass. The double bass part assumes low c extension; however, a non-extension bass part is included.Giovanni Gabrieli's Sonata Pian e Forte is essential as it represents the shift from the Renaissance to the Baroque period. It is part of his 1597 Sacrae symphoniae, which contains sixty-three choral and instrumental works, many in multi-choir formations. It is the first known composition in history to employ dynamics, with Gabrieli using specific notation to indicate instrumentation and experimenting with assembling massive instrumental forces into isolated groups separated by space. This innovation contributed heavily to the Baroque Concertato style and the development of the sonata, a musical form that came into general use toward the end of the sixteenth century. The structure of the piece is defined by the dialogue between two instrumental choirs, making it a key example of Gabrieli's influential contributions to the transition in musical style during his time.
$47.95 ≈
44.79€
Sonata per archi
Sonata per archi
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Gioacchino Antonio Rossini
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Sonata per archi
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Schott Music - Digital
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SheetMusicPlus
Double Bass - SKU: S9.Q24262 No. 1 G major. Composed by Gioacchino Antonio Rossini. This edition: separate part. Concertino. Downloadable, Indivi...
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Double Bass - SKU: S9.Q24262 No. 1 G major. Composed by Gioacchino Antonio Rossini. This edition: separate part. Concertino. Downloadable, Individual part. Duration 19 minutes. Schott Music - Digital #Q24262. Published by Schott Music - Digital (S9.Q24262). Key: G major.
$2.99 ≈
2.79€
Sonata per archi
Sonata per archi
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Gioacchino Antonio Rossini
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Sonata per archi
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Schott Music - Digital
#
SheetMusicPlus
Double Bass - intermediate to advanced - SKU: S9.Q24076 No. 2 A Major. Composed by Gioacchino Antonio Rossini. This edition: separate part. Conce...
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Double Bass - intermediate to advanced - SKU: S9.Q24076 No. 2 A Major. Composed by Gioacchino Antonio Rossini. This edition: separate part. Concertino. Downloadable, Individual part. Duration 15 minutes. Schott Music - Digital #Q24076. Published by Schott Music - Digital (S9.Q24076). Key: A major.
$2.99 ≈
2.79€
Sonata C Minor
Sonata C Minor
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Tomaso Giovanni Albinoni
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Sonata C Minor
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Schott Music - Digital
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SheetMusicPlus
Cello/double bass - SKU: S9.Q24291 Composed by Tomaso Giovanni Albinoni. This edition: separate part. Concertino. Downloadable, Individual part. Op. 2/4...
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Cello/double bass - SKU: S9.Q24291 Composed by Tomaso Giovanni Albinoni. This edition: separate part. Concertino. Downloadable, Individual part. Op. 2/4. Schott Music - Digital #Q24291. Published by Schott Music - Digital (S9.Q24291). Key: C minor.
$2.99 ≈
2.79€
Sonata No. 1 G minor a 2
Sonata No. 1 G minor a 2
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Johann Rosenmueller
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Sonata No. 1 G minor a 2
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Violoncello/double bass - SKU: S9.Q53303 Composed by Johann Rosenmueller. This edition: separate part. Downloadable, Individual part. Musikverlag Robert...
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Violoncello/double bass - SKU: S9.Q53303 Composed by Johann Rosenmueller. This edition: separate part. Downloadable, Individual part. Musikverlag Robert Lienau - Digital #Q53303. Published by Musikverlag Robert Lienau - Digital (S9.Q53303). Key: G minor. German • English • French.
$2.99 ≈
2.79€
Sonata No. 7 D minor a 4
Sonata No. 7 D minor a 4
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Johann Rosenmueller
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Sonata No. 7 D minor a 4
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Double bass - SKU: S9.Q53353 Composed by Johann Rosenmueller. This edition: separate part. Downloadable, Individual part. Musikverlag Robert Lienau - Di...
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Double bass - SKU: S9.Q53353 Composed by Johann Rosenmueller. This edition: separate part. Downloadable, Individual part. Musikverlag Robert Lienau - Digital #Q53353. Published by Musikverlag Robert Lienau - Digital (S9.Q53353). Key: D minor. German • English • French.
$2.99 ≈
2.79€
Sonata D major
Sonata D major
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Daniel Purcell
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Sonata D major
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Schott Music - Digital
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SheetMusicPlus
Violoncello/Double Bass - SKU: S9.Q24553 Composed by Daniel Purcell. This edition: separate part. Concertino. Downloadable, Individual part. Schott Musi...
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Violoncello/Double Bass - SKU: S9.Q24553 Composed by Daniel Purcell. This edition: separate part. Concertino. Downloadable, Individual part. Schott Music - Digital #Q24553. Published by Schott Music - Digital (S9.Q24553). Key: D major.
$2.99 ≈
2.79€
Sonata No. 4 C major
Sonata No. 4 C major
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Heinrich Ignaz Franz von Biber
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Sonata No. 4 C major
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Schott Music - Digital
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SheetMusicPlus
Violoncello/Double bass - SKU: S9.Q24122 Composed by Heinrich Ignaz Franz von Biber. This edition: separate part. Concertino. Downloadable, Individual p...
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Violoncello/Double bass - SKU: S9.Q24122 Composed by Heinrich Ignaz Franz von Biber. This edition: separate part. Concertino. Downloadable, Individual part. Schott Music - Digital #Q24122. Published by Schott Music - Digital (S9.Q24122). Key: C major.
$2.99 ≈
2.79€
Sonata No. 2 E minor a 2
Sonata No. 2 E minor a 2
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Johann Rosenmueller
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Sonata No. 2 E minor a 2
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Musikverlag Robert Lienau - Digital
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SheetMusicPlus
Violoncello/double bass - SKU: S9.Q52890 Composed by Johann Rosenmueller. This edition: separate part. Downloadable, Individual part. Musikverlag Robert...
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Violoncello/double bass - SKU: S9.Q52890 Composed by Johann Rosenmueller. This edition: separate part. Downloadable, Individual part. Musikverlag Robert Lienau - Digital #Q52890. Published by Musikverlag Robert Lienau - Digital (S9.Q52890). Key: E minor. German • English • French.
$3.99 ≈
3.73€
Sonata a 4
Sonata a 4
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Giuseppe Torelli
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Sonata a 4
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Schott Music - Digital
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SheetMusicPlus
Cello/Double Bass - advanced - SKU: S9.Q219 Composed by Giuseppe Torelli. This edition: separate part. Antiqua. Downloadable, Individual part. Op. 8/2. ...
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Cello/Double Bass - advanced - SKU: S9.Q219 Composed by Giuseppe Torelli. This edition: separate part. Antiqua. Downloadable, Individual part. Op. 8/2. Schott Music - Digital #Q219. Published by Schott Music - Digital (S9.Q219).
$4.99 ≈
4.66€
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
#
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 ≈
44.79€
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
#
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 ≈
44.79€
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 - 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 ≈
44.79€
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
#
James M
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
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 ≈
44.79€
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
#
James M
#
Gabrieli: Canzon per Sonar Ch.
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jmsgu3
#
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 ≈
44.79€
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trompette, Trombone (duo)
#
FACILE
#
Giovanni Gabrieli
#
James M
#
1 Bass Trombone
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Fes...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst 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 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 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 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 ≈
44.79€
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir
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Quatuor de Cuivres: 2 trompettes, Cor, trombone
#
INTERMÉDIAIRE
#
Giovanni Gabrieli
#
James M
#
Gabrieli: Canzona in Echo Ch.
#
jmsgu3
#
SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 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 ≈
44.79€
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
#
James M
#
Gabrieli: Canzon per Sonar Ch
#
jmsgu3
#
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.
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Sonata para Double Bass
