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Just Another Birthday Song
Just Another Birthday Song
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Piano, Voice
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INTERMEDIATE
#
Pop music
#
Phil Thrift
#
Just Another Birthday Song
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Phil Thrift
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.955730 Composed by Phil Thrift. Pop. Score. 8 pages. Phil Thrift #5805767. Published by Phil Thrif...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.955730 Composed by Phil Thrift. Pop. Score. 8 pages. Phil Thrift #5805767. Published by Phil Thrift (A0.955730). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! Optional harmony notes are also included for use with more than one singer. The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Chord symbols are included for use with a guitar instead of or in addition to piano.Also available separately:Singalong MP3 piano accompanimentVersion for SATB choir and pianoSolo voice swing version for those who prefer a slightly jazzier birthday!
$2.99 ≈
2.72€
Just Another Birthday Song - Swing Edition - Playalong
Just Another Birthday Song - Swing Edition - Playalong
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Jazz
#
Phil Thrift
#
Just Another Birthday Song - S
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Phil Thrift
#
SheetMusicPlus
Piano,Voice - Level 3 - Digital Download SKU: A0.1072043 Composed by Phil Thrift. Jazz. Accompaniment. Duration 154. Phil Thrift #5805787. Published by P...
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Piano,Voice - Level 3 - Digital Download SKU: A0.1072043 Composed by Phil Thrift. Jazz. Accompaniment. Duration 154. Phil Thrift #5805787. Published by Phil Thrift (A0.1072043). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song – Swing Edition might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song – Swing Edition gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Available separately:Sheet music for solo voice and piano (swing version)
$2.99 ≈
2.72€
Just Another Birthday Song - Swing Edition
Just Another Birthday Song - Swing Edition
#
Piano, Voice
#
INTERMEDIATE
#
Jazz
#
Phil Thrift
#
Just Another Birthday Song - S
#
Phil Thrift
#
SheetMusicPlus
Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.955733 Composed by Phil Thrift. Jazz. Score. 8 pages. Phil Thrift #5805773. Published by Phil Thri...
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Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.955733 Composed by Phil Thrift. Jazz. Score. 8 pages. Phil Thrift #5805773. Published by Phil Thrift (A0.955733). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song – Swing Edition might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song – Swing Edition gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Chord symbols are included for use with a guitar instead of or in addition to piano.Also available separately:Singalong MP3 piano accompaniment (swing)Solo voice straight 8ths version (with optional 2-part harmony) for those who prefer a less jazzy birthday!Version (straight 8ths) for SATB choir and piano
$2.99 ≈
2.72€
Just Another Birthday Song - Playalong
Just Another Birthday Song - Playalong
#
Pop music
#
Phil Thrift
#
Just Another Birthday Song - P
#
Phil Thrift
#
SheetMusicPlus
Piano,Voice - Level 3 - Digital Download SKU: A0.1072042 Composed by Phil Thrift. Pop. Accompaniment. Duration 154. Phil Thrift #5805785. Published by Ph...
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Piano,Voice - Level 3 - Digital Download SKU: A0.1072042 Composed by Phil Thrift. Pop. Accompaniment. Duration 154. Phil Thrift #5805785. Published by Phil Thrift (A0.1072042). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps speaking a few congratulatory words while others continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! Optional harmony notes are also included for use with more than one singer. The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Available separately:Sheet music for solo voice and piano (with optional 2-part harmony) (A0.955730 or 1051903)
$2.99 ≈
2.72€
Just Another Birthday Song - SATB Edition
Just Another Birthday Song - SATB Edition
#
Choral SATB
#
INTERMEDIATE
#
Pop music
#
Phil Thrift
#
Just Another Birthday Song - S
#
Phil Thrift
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.955732 Composed by Phil Thrift. Pop. Octavo. 19 pages. Phil Thrift #5805777. Published by Phil T...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.955732 Composed by Phil Thrift. Pop. Octavo. 19 pages. Phil Thrift #5805777. Published by Phil Thrift (A0.955732). Are you looking for a new song to celebrate someone’s birthday? If so, then Just Another Birthday Song – SATB Edition might well be what you’re looking for. Simple melody, simple harmonies, simple ideas, not too long and at times a mildly reflective take on the birthday theme. However, the text is never too serious – it’s someone’s birthday, after all! Plenty of unison singing and straightforward 4-part writing mean that this piece will not be difficult for any choir, can be easily slipped into any program. The spaces between the lines of text in the Bridge and the Outro leave you scope for adding a solo instrument or perhaps for someone to speak a few congratulatory words while the other choir members continue the song in the background. Indeed, measures 49-60 could even be repeated quietly to accompany a solo instrument or someone speaking. The possibilities for making this song more individual are endless! The well-known tunes will continue to feature at many birthday events, but Just Another Birthday Song – SATB Edition gives you the chance to present a refreshing, different and flexible musical number when honoring someone’s birthday.Chord symbols are included for use with a guitar instead of or in addition to piano.Choir parts without piano part are included.Also available separately:Solo voice version (with optional 2-part harmony) (A0.955730 or 1051903)Solo voice swing version for those who prefer a slightly jazzier birthday! (A0.955733 or 1051906)
$3.49 ≈
3.17€
'The Seventh Seal'
'The Seventh Seal'
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Piano solo
#
INTERMEDIATE
#
Amy Louise Lewis
#
'The Seventh Seal'
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Amy Lewis
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1216480 By Amy Louise Lewis. By Amy Louise Lewis. Christian,Classical,Contemporary,Religious,Spiritual. S...
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Piano Solo - Level 3 - Digital Download SKU: A0.1216480 By Amy Louise Lewis. By Amy Louise Lewis. Christian,Classical,Contemporary,Religious,Spiritual. Score. 1 pages. Amy Lewis #813057. Published by Amy Lewis (A0.1216480). This is an enigmatic and rhapsodic piece for solo piano that is composed in Whole Tone C mode and is based on the Book of Revelation Chapter 8 Verses 1-5 in the New Testament Bible. Bar 1-18 is based on verses 1-3 and is sharp, spacey and minimal - the sound of silence and of the angels. The emphasis is the sound between the notes.Verse 4 states: 'And the smoke of the incense, which came with the prayers of the Saints, ascended up before God out of the angel's hand.' This section changes tone and phrase. There is a beautiful ascending up the keyboard, which is delecate but with hesitance. It is the light before the darkness; the potential energy before the explosion; the calm before the storm. There must be tension.Verse 5 states: 'And the angel took the censer, and filled it with fire of the altar and cast it into the Earth, and there were voices, and thunderings, and lightnings, and an earthquake.'This section therefore is rather more dramatic, with a contrast of high and low pitched notes and chords. The final bars of the piece are suspension - sharp and repetative chords and ending on one sharp note - what happens next?The pianist should pedal freely throughout the piece and add their own dramatic touch to this very illistrative score.
$7.95 ≈
7.23€
Worship Series - "Nothing But The Blood Of Jesus" for Voice, Piano, and optional violin solo
Worship Series - "Nothing But The Blood Of Jesus" for Voice, Piano, and optional violin solo
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Piano, Vocal and Guitar
#
INTERMEDIATE
#
Fernando Ortega
#
Kenneth Martin
#
Worship Series - "Nothing But
#
Martin Music Editions
#
SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1414908 By Fernando Ortega. By Robert Lowry. Arranged by Kenneth Martin. 21st Century,Conte...
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Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1414908 By Fernando Ortega. By Robert Lowry. Arranged by Kenneth Martin. 21st Century,Contemporary,Praise & Worship,Religious,Sacred. Score. 7 pages. Martin Music Editions #996658. Published by Martin Music Editions (A0.1414908). In this stripped-down yet deeply emotive arrangement of Nothing But the Blood of Jesus, crafted in the style of Fernando Ortega and Jesus Culture, the focus is on the interplay between violin, voice, and piano. This rendition radiates a sense of intimacy and contemplation, drawing listeners into a sacred space of worship and reflection.The piano introduces the piece with gentle, lingering chords that evoke a sense of reverence. Its melodies are reminiscent of Fernando Ortega's contemplative style, creating a foundation that supports and uplifts the subsequent elements of the arrangement.As the vocalist begins, their voice carries the timeless lyrics with sincerity and warmth. Each word is infused with meaning, resonating against the piano's backdrop. The vocal delivery, reminiscent of Jesus Culture's heartfelt expression, conveys both vulnerability and deep conviction, inviting listeners to engage with the profound message of the hymn.The violin enters delicately, weaving its melodic lines around the vocal phrases. Its tone is expressive and soul-stirring, adding a poignant layer of emotion to the arrangement. The violin's presence evokes Fernando Ortega's introspective sensibility, enhancing the lyrical depth and drawing out the thematic richness of the hymn.As the arrangement progresses, the piano's role evolves, providing rhythmic support and harmonic depth. The vocal and violin melodies intertwine, creating a dialogue that reflects the spiritual journey depicted in the lyrics. The simplicity of the instrumentation allows each element to shine individually while blending harmoniously together.During the chorus, the arrangement swells with emotional intensity. The vocalist's delivery becomes more impassioned, emphasizing the profound truth encapsulated in the refrain. The piano responds with cascading arpeggios, underscoring the soaring declarations of faith and redemption.In the quieter moments, the violin takes center stage, offering introspective solos that invite contemplation. Its melodic lines soar above the piano's accompaniment, articulating the yearning and gratitude expressed in the hymn's verses.As the arrangement reaches its culmination, the trio of voice, violin, and piano unites in a transcendent climax. The vocal harmonies rise in unison, resonating with the instrumentation to create a moment of profound connection and worshipful response.In this arrangement of Nothing But the Blood of Jesus, the collaboration between voice, violin, and piano channels the spirit of Fernando Ortega and Jesus Culture. Rooted in simplicity yet imbued with deep emotion and spiritual depth, this rendition invites listeners to experience the transformative power of grace and redemption through music.
$7.99 ≈
7.27€
The Old Painter and the Water
The Old Painter and the Water
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Piano solo
#
INTERMEDIATE
#
Fernando Diaz
#
Fernando Diaz
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The Old Painter and the Water
#
Fernando DÃaz
#
SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1164875 By Fernando Diaz. By Fernando Diaz. Arranged by Fernando Diaz. 19th Century,20th Century,Classica...
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Piano Solo - Level 3 - Digital Download SKU: A0.1164875 By Fernando Diaz. By Fernando Diaz. Arranged by Fernando Diaz. 19th Century,20th Century,Classical,Film/TV,New Age. Score. 3 pages. Fernando DÃaz #765209. Published by Fernando DÃaz (A0.1164875). Simple and short piece for piano solo describing the peace and the space between a painter and a calm river.
$15.00 ≈
13.64€
Variations on a Theme: Wayfinder
Variations on a Theme: Wayfinder
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Orchestra
#
INTERMEDIATE
#
Contemporary
#
Garrett Melick
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Variations on a Theme: Wayfind
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Moof Miser
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1024919 Composed by Garrett Melick. Contemporary. Score and parts. 82 pages. Moof Miser #4355557. Pub...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1024919 Composed by Garrett Melick. Contemporary. Score and parts. 82 pages. Moof Miser #4355557. Published by Moof Miser (A0.1024919). The Wayfinder, a small ship floating aimlessly through space. This song is the story of their adventures as they explore the galaxy. Variations on a Theme: Wayfinder was written in response to what felt like a general lack of more showy, almost cinematic tunes available publicly for full orchestra, at least ones that weren't arrangements of other movie songs. Wayfinder provides a song that's both fun to play and listen to, while also offering a fair challenge to younger high school orchestra groups to make sure they are listening to other members of the orchestra and keeping their parts balanced between them. It is suggested that, when rehearsing this piece, one emphasize a focus on listening carefully, as well a careful balance between parts played staccato and legato, as well as to bring attention to the multiple tempo changes that occur throughout the piece. .
$30.00 ≈
27.29€
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 - Digital Download SKU: A0.549196 Composed by Giovvanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jm...
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Level 3 - Digital Download 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 ≈
43.61€
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 - Digital Download SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCA...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - Digital Download 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 ≈
43.61€
The Voice Within
The Voice Within
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Choral 3-part
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INTERMEDIATE
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Christina Aguilera
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Katherine Burr
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The Voice Within
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Katherine Burr
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1399873 By Christina Aguilera. By Christina Aguilera and Glen Ballard. Arranged by Katheri...
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Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1399873 By Christina Aguilera. By Christina Aguilera and Glen Ballard. Arranged by Katherine Burr. Contemporary,Pop,R & B,Singer/Songwriter,Soul. 13 pages. Katherine Burr #983098. Published by Katherine Burr (A0.1399873). An SAB arrangement of the inspiring ballad about discovering and trusting yourself, by Christina Aguilera. It has some call and response sections between altos and sopranos, and requires an F#5 from the sopranos - optional lower notes are written underneath. There are some simpler riffs written in and plenty of space for additional riffing between phrases similar to the original track.Band parts and other arrangement options available by contacting Katherine via her website: www.katherineburr.com
$4.00 ≈
3.64€
Great Symphonic Themes - Series 5FC - (Key Map Tablature)
Great Symphonic Themes - Series 5FC - (Key Map Tablature)
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Easy Piano
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INTERMEDIATE
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Classical
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Various
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John M
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Great Symphonic Themes - Serie
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Music Innovators Workshop
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SheetMusicPlus
Easy Piano - Level 3 - Digital Download SKU: A0.984698 Composed by Various. Arranged by John M. Honeycutt. Baroque,Classical,Romantic Period. Score. 10 p...
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Easy Piano - Level 3 - Digital Download SKU: A0.984698 Composed by Various. Arranged by John M. Honeycutt. Baroque,Classical,Romantic Period. Score. 10 pages. Music Innovators Workshop #4356973. Published by Music Innovators Workshop (A0.984698). These are easy to play themes from 7 great symphonic works. The themes are placed on key map tablatures that notate the melodies and chords, and provide standard chord symbols as well. Series 5FC - To make fingering of melodies easy to follow, each 5-finger group begins with a finger number and colored notes. Then successive fingered groups are identified with contrasting colored notes. Notes not belonging in a 5-fingered group are white.This piece is notated on a vertically oriented tablature called a key map. Key maps are intended to SHOW you (visually) which keys to play by matching (mapping) the locations of the keys on the keyboard. >>> The group of 12 keys from Middle C up to B form what we call the green Octave Group. (There are 7 of these identical groups on the piano distinguished by their colors and locations.) The key map staff is based on an octave group of the keyboard. For each key map octave group, the 5 vertical lines of the staff stand for the 5 matching black KEYS. >>> Staff lines ARE SPACED to match the horizontal spacing of the black keys on the keyboard The notes for black keys are placed ON these staff lines. The notes for the white keys are placed BETWEEN the lines. >>> The notes of a key map move to the left and right to indicate change in PITCH and down the page to indicate the passing of TIME (rhythm). The vertical length of each note is proportional to the time (in beats) that the sound requires.If you want to know more about this beautiful key map notation, you might consider reviewing our article describing how this notation works, entitled: Getting Started With Key Maps for the Piano. It contains an explanation of how key maps work and includes a number of examples. 16 pages. It is promotionally priced at only $1.99. (Actually, you can read the fist few pages simply by going to the look inside pages of the article.)
$2.00 ≈
1.82€
Air on the G String (MEDIUM) from Suite No. 3 (BWV 1068) [Johann Sebastian Bach]
Air on the G String (MEDIUM) from Suite No. 3 (BWV 1068) [Johann Sebastian Bach]
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Piano solo
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INTERMEDIATE
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Classical
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Johann Sebastian Bach
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Darek
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Air on the G String
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Darek
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SheetMusicPlus
Piano Solo - Level 3 - Digital Download SKU: A0.1257384 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music,Wedding. Scor...
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Piano Solo - Level 3 - Digital Download SKU: A0.1257384 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music,Wedding. Score. 2 pages. Darek #850717. Published by Darek (A0.1257384). Indulge in the sublime beauty of Air on the G String, an extraordinary composition from Suite No. 3 (BWV 1068) by the revered Johann Sebastian Bach. Immerse yourself in the enchanting melody and let your fingers navigate the intricacies of this medium difficulty piano arrangement, capturing the essence of this timeless classic.Designed for pianists seeking a captivating challenge, this medium difficulty piano sheet music unveils the true depth and complexity of Bach's masterpiece. As you embark on this musical journey, you'll discover the harmonious balance between technical brilliance and expressive nuances, allowing you to showcase your artistry and command over the keyboard.Experience the unique blend of elegance and emotional depth as each note resonates with sheer brilliance. The Air on the G String stands out for its ability to evoke a profound sense of tranquility and introspection, captivating listeners with its ethereal charm.Unleash your musical expression and let your fingertips breathe life into this magnificent piece. Delve into the rich tapestry of emotions woven within the composition, from gentle whispers to soaring melodies, each phrase telling a captivating story that transcends time and space.Whether you're a seasoned performer or an aspiring pianist looking to expand your repertoire, this medium difficulty piano sheet music is a treasure trove of artistic possibilities. Elevate your playing to new heights and delight audiences with a truly captivating rendition of Bach's timeless masterpiece.Keywords: Air on the G String, medium difficulty piano sheet music, Suite No. 3, BWV 1068, Johann Sebastian Bach, sublime beauty, captivating challenge, technical brilliance, expressive nuances, artistry, command over the keyboard, elegance, emotional depth, profound sense of tranquility, introspection, ethereal charm, musical expression, captivating story, seasoned performer, aspiring pianist, expand your repertoire, artistic possibilities, timeless masterpiece.
$3.00 ≈
2.73€
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Flute Choir
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Flute ensemble
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.61€
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
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Clarinet Ensemble
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. 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 ≈
43.61€
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 - Digital Download SKU: A0.549214 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. ...
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Woodwind Ensemble - Level 3 - Digital Download 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 ≈
43.61€
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.61€
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
Gabrieli: Sonata Pian e Forte Ch. 175 for Concert Band
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Concert band
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Part...
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Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95 ≈
43.61€
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Flute Choir
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Flute ensemble
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INTERMEDIATE
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
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The Space Between
