Download Digital Sheet Music of Kyrie: for Brass quartet : 2 trumpets, trombone, tuba

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Kyrie:
Not classified 17

Piano & keyboards
Easy Piano 7
Organ 6
Piano, Voice 6
Piano solo 4
Piano, Vocal and Guitar 1

Guitars
Guitar 1

Voice
Choral SATB 32
Choral 3-part 6
Choral Unison 5
Vocal duet, Piano 2
Choral 2-part 2

Choral 1
Choral TTBB 1

+ 2 instrumentations

- Retract

Woodwind
Saxophone Quartet: 4 saxophones 3
Flute Quartet: 4 flutes 2
Clarinet Quintet: 5 clarinets 2
Clarinet Quartet: 4 clarinets 2
Flute and Piano 2

Recorder Ensemble 1
Flute, Oboe, Clarinet, Bassoon 1
2 Clarinets (duet) 1
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1
Tenor Saxophone and Piano 1
Clarinet, Bassoon (duet) 1
Flute ensemble 1
Alto Saxophone and Piano 1
Clarinet and Piano 1
Oboe, Bassoon (duet) 1

+ 10 instrumentations

- Retract

Woodbrass
Brass quartet : 2 trumpets, trombone, tuba 3

Strings
String Quartet: 2 violins, viola, cello 4
Violin and Piano 2
Cello, Piano 2
Double bass, Piano (duet) 1
Violin, Cello (duet) 1

Violin, Organ 1
Viola, Cello (duet) 1

+ 2 instrumentations

- Retract

Percussion & orchestra
Vibraphone 1
Brass ensemble 1
Orchestra 1
Marimba 1
Concert band 1

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Kyrie:

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Brass quartet : 2 trumpets, trombone, tuba

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3 sheet music found

Machaut: La Messe de Nostre Dame for Brass Quartet - Score Only

Machaut: La Messe de Nostre Dame for Brass Quartet - Score Only #Brass quartet : 2 trumpets, trombone, tuba #EASY #Guillaume de Machaut, 1300-137 #James M #2 Trombones 1 #Machaut: La Messe de Nostre Da #jmsgu3 #SheetMusicPlus

Brass Quartet - Level 2 - Digital Download SKU: A0.1257202 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Cont...(+)

Brass Quartet - Level 2 - Digital Download SKU: A0.1257202 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #850533. Published by jmsgu3 (A0.1257202). INSTRUMENTATION: Cornet, French Horn & 2 Trombones 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Â Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. Â The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Â Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.

$49.95 ≈ $67.24

Machaut: Le Messe de Nostre Dame for 2 Horns & 2 Trombones - Score Only

Machaut: Le Messe de Nostre Dame for 2 Horns & 2 Trombones - Score Only #Brass quartet : 2 trumpets, trombone, tuba #EASY #Guillaume de Machaut, 1300-137 #James M #Machaut: Le Messe de Nostre Da #jmsgu3 #SheetMusicPlus

Brass Quartet - Level 2 - Digital Download SKU: A0.1258043 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Ear...(+)

Brass Quartet - Level 2 - Digital Download SKU: A0.1258043 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851281. Published by jmsgu3 (A0.1258043). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass.Â Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century.Â The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period.Â Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

$49.95 ≈ $67.24

DIES IRAE from REQUIEM by G. Verdi

DIES IRAE from REQUIEM by G. Verdi #Brass quartet : 2 trumpets, trombone, tuba #EASY #Giuseppe Verdi #Alessandro MacrÃ¬ #DIES IRAE from REQUIEM by G. V #Music Macri Editions #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.931249 Composed by Giuseppe Verdi. Arranged by Alessandro MacrÃ¬. A Capp...(+)

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.931249 Composed by Giuseppe Verdi. Arranged by Alessandro MacrÃ¬. A Cappella,Concert,Film/TV,Romantic Period,Sacred. Score and parts. 20 pages. Music Macri Editions #5771023. Published by Music Macri Editions (A0.931249). La Messa da Requiem di Giuseppe Verdi Ã¨ un'opera certamente religiosa, ma in un modo tutto suo, scritta cioÃ¨ da un uomo che non era propriamente praticante: composta ed eseguita (su un precedente progetto per Rossini) nel 1874 per commemorare Alessandro Manzoni a un anno dalla scomparsa, Ã¨ un lavoro che unisce, alla devozione quasi filiale per i due Grandi, una sensibilitÃ operistica tutta verdiana. E in veritÃ , i cantanti solisti che Verdi aveva in mente nello scrivere la partitura erano certamente voci dâ€™opera.La prima nella chiesa di San Marco a Milano ebbe un tale successo che si tennero altre tre esecuzioni al Teatro alla Scala. Francis Tovey scrive: La Messa era arrivata nella sua vera casa (...) dove il pubblico, che non doveva badare alle convenzioni ecclesiastiche, potÃ© dare sfogo al proprio entusiasmo, con esuberanza tipicamente italiana. Verdi non aveva intenzione di riservare la partitura a rare, solenni commemorazioni. La qualitÃ drammatica e operistica del Requiem mal si adatta allâ€™uso di un servizio regolare in chiesa, nÃ© il compositore voleva che funzionasse come liturgia. Fin dall'inizio, Verdi ha concepito il suo Requiem per lâ€™esecuzione, non per la devozione; voleva che il suo lavoro fosse complementare alla popolaritÃ di Manzoni per mostrare al mondo la cultura italiana, tanto che lo portÃ² personalmente in tournÃ©e a Parigi, New York, Londra e Vienna.Il Requiem di Verdi, come Ein deutsches Requiem di Johannes Brahms, Ã¨ lâ€™affermazione di un dolore personale che si serve di un testo preso in prestito dalla liturgia sacra.Neanche Brahms, come Verdi, era particolarmente devoto. Per entrambi, le parole della messa da requiem per i defunti rappresentano il bisogno universale di esprimere le emozioni che ci assalgono quando una persona amata muore: dolore, perdita, tristezza, rabbia, paura del giudizio divino e speranza di pace sia per i defunti che per coloro che sono in lutto.Verdi inizia con i versi Requiem aeternam dona eis, Domine che il coro e l'orchestra intonano in fasi sommesse e raccolte. I quattro solisti si uniscono al coro e all'orchestra per uno stentoreo Kyrie eleison. Il tonitruante boato orchestrale e corale del Dies irae che segue immediatamente il Kyrie Ã¨ il momento piÃ¹ atteso e memorabile del Requiem. Qui i musicisti, i coristi e i cantanti devono produrre esplosioni sonore continue e inarrestabili. Gli ottoni, le percussioni, i legni e il coro sono tirati al massimo, mentre le voci gridano sgomento e dolore, e gli archi crescono di intensitÃ e impeto. Del resto, il materiale musicale del pauroso Dies irae ritorna di continuo lungo tutta la Messa, dipingendo un quadro da Giorno del Giudizio: non a caso lâ€™opera Ã¨ stata equiparata allâ€™affresco michelangiolesco della Cappella Sistina. Un lavoro cupamente drammatico, con intermittenti, brevi, violenti lampi di luce.Di volta in volta, Verdi ci fa vivere il terrore dell'inferno (timbri e registri bassi) e la luminosa speranza di salvezza, preparandoci alla gioia del Sanctus, con la tromba che annuncia Santo, santo, santo, Signore degli eserciti! Il cielo e la terra sono pieni della tua gloria!Verdi conclude il suo Requiem con un soprano che intona i primi versi di Libera me (Liberami, o Signore, dalla morte eterna in quel terribile giorno). Tutto il dramma, il terrore, lâ€™angoscia delle sezioni precedenti ritorna, come se il compositore intendesse lasciarci con un senso di incertezza: saremo, alla fine, riscattati? Verdi riprende qui la musica del Dies irae, ma alla fine, il coro e il soprano finiscono in un sussurro quasi impercettibile, con Libera me. Libera me: una speranza, una preghiera, un gemito sommesso.

$9.00 ≈ $12.12