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You've selected:
Renaissance Choir
Sheetmusic to print
2,274 sheet music found
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2251
Two Sacred Pieces for Trombone Ensemble Choir
Two Sacred Pieces for Trombone Ensemble Choir
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Trombone ensemble
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INTERMEDIATE/ADVANCED
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Classical
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Heinrich Schutz
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Kenneth Biggs
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Two Sacred Pieces for Trombone
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Cherry Classics Music
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SheetMusicPlus
Trombone Ensemble Choir - Advanced Intermediate - Digital Download Composed by Heinrich Schutz (1585-1672). Arranged by Kenneth Biggs. Baroque Period...
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Trombone Ensemble Choir - Advanced Intermediate - Digital Download Composed by Heinrich Schutz (1585-1672). Arranged by Kenneth Biggs. Baroque Period, Renaissance, Early Music, Sacred. Score, Set of Parts. 32 pages. Published by Cherry Classics Music
Heinrich Schütz (1585-1672) wrote the Musikalische Exequien, opus 7 (SWV 279-281) for the funeral of Prince Heinrich Posthumus von Reuss (1572-1635). Prince Heinrich’s widow and sons commissioned the work upon his death and provided Schütz with Bible verses as the text, which were also inscribed on the prince’s coffin.
Two of the three parts of the Musikalische Exequien have been arranged for 8-part Trombone Ensemble in two different choirs. The first piece, Motet is reminiscent of Gabrieli's Sonatas. The second piece, Canticum Sineonis is dense, rich, and evokes deep spiritual suffering and loss.
Two Sacred Pieces have been exquisitely edited and arranged by Kenneth Biggs for moderately advanced performers and work very well with 2 Alto Trombones, 4 Tenor Trombones, and 2 Bass Trombones.
$32.50 ≈
29.50€
Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
Chording to the Dance Masters - Melody and chords for 44 Renaissance Dance Consort pieces
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C Instruments
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EASY
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Renaissance
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Various
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Chording to the Dance Masters
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Wold Meridian
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SheetMusicPlus
C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563-...
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C Instrument - Level 2 - Digital Download By Various. By Anonymous, Claudin de Sermisy, Henry VIII, Pierre Phalese, Thoinot Arbeau, John Dowland (1563- 1626), Michael Praetorius (1571-1621), Pierre Attaignant (1494-1553), Pierre Certon (1510-1572), William Cornysh (1470-1523), Juan Del Encina (1468-1530), Claude Gervaise (1540-1560), Giorgio Mainerio (1535-1582), Erasmus Widmann (1572-1634), and Tielman Susato (1500-1561). Arranged by Alastair Lodge. 151, 153, 162, Folk, Renaissance. Lead Sheet / Fake Book. 38 pages. Wold Meridian #727149. Published by Wold Meridian
Chording to the Dance Masters is a selection of dance tunes that were collected originally between about 1500 and 1620. Printing made many of these tunes popular throughout Europe during these times, some of them composed by the printer/publishers themselves, but many more of them existed previously as rustic dance tunes or popular chansons. The works were originally published to be played by three to five instrumentalists, with no particular instruments specified. They suited consorts or “choirs” of instruments that were depicted in the illustrations of Agricola, Mersenne and most notably Praetorius and are now preserved in museums around the world.
Many editions exist in the 3, 4 or 5 parts as originally published, and these are an absolute joy to perform from, where the interweaving parts create interesting harmonies that demonstrate the skills of these renaissance composer/arranger/publishers. Playing with modern reproductions of the early instruments will recreate textures and sounds unique to this period. However, not everyone is lucky enough to either own these instruments or else have contact with others with whom they could form ensembles. This book aims to widen the experience out to those who would like to play these tunes on their own or with the accompaniment of a guitar, keyboard or other available chordal instrument. Fake books abound for those who wish to play Jazz, Folk, Classical and Popular music where the melody is annotated with chords so that players can access these tunes in their own way. As far as I am aware, this has not often been done for the player who wishes to busk their way through music of the Renaissance period.
I have attempted to include all the chords implied by the polyphonic parts of the original publications, simply because it is in the transitions of the harmonies under the melodies where the genius of the original arranger/publisher resides. Those who go on to explore the original versions may look forward to the way in which each line presents the player with intrinsically beautiful counter melodies.
At first, the rapidity of chord changing can be a bit daunting, so I have marked out what I consider to be the essential chords for accompaniment in boxes. Playing just these will provide adequate accompaniment, whilst leaving the more adventurous scope to enhance their performance by referencing some of the other chords. You can hear the chording arrangements together with the original 3, 4 or 5 part versions of all 44 pieces on a YouTube playlist which has been made as a companion to this volume at
https://youtube.com/playlist?list=PLYRWH2nycMkMoIoEYEMVPa_EXY6NVDpNS
As well as the solo or player in a duo, this book would also be of value for someone who is used to reading chords rather than melody lines wishing to join in with a renaissance consort. The selection I have chosen represents quite a few of the “standards” that have become regularly played since the revival of renaissance music in the late 1960s. It is hoped that should this volume prove popular, companion volumes with all the parts provided for the same pieces could make essential repertoire for the budding renaissance dance consorts of the future.
$11.46 ≈
10.40€
The Passionate Shepherd & The Nymph's Reply for SATB Choir & Piano (optional Renaissance Guitar)
The Passionate Shepherd & The Nymph's Reply for SATB Choir & Piano (optional Renaissance Guitar)
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Choral SATB
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EASY
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M
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The Passionate Shepherd & The
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Vocal Works
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1360780 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Renai...
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1360780 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Renaissance. 11 pages. Vocal Works #945275. Published by Vocal Works (A0.1360780). Visit http://choirworks.com for the choral music of M. Ryan Taylor. This cheeky quodlibet (or partner song) was crafted from Christopher Marlowe's famous poem The Passionate Shepherd to His Love and The Nymph's Reply to the Shepherd by Sir Walter Raleigh. The music includes optional chords for Renaissance Guitar, which was tuned the same as a modern GCEA ukulele (an 8-string ukulele would be a passable substitute if no period instrument is available). Versions for SA, SB, SAB and SATB choir are available at http://choirworks.com ...Recording by Rocky Mountain Chamber Singers.
$2.49 ≈
2.26€
The Passionate Shepherd & The Nymph's Reply for SB Choir & Piano (optional Renaissance Guitar)
The Passionate Shepherd & The Nymph's Reply for SB Choir & Piano (optional Renaissance Guitar)
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Choral 2-part
#
EASY
#
M
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The Passionate Shepherd & The
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Vocal Works
#
SheetMusicPlus
Choral Choir,Choral (2-Part) - Level 2 - Digital Download SKU: A0.1360949 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Ren...
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Choral Choir,Choral (2-Part) - Level 2 - Digital Download SKU: A0.1360949 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Renaissance. 11 pages. Vocal Works #945433. Published by Vocal Works (A0.1360949). Visit choirworks.com for the choral music of M. Ryan Taylor. This cheeky quodlibet (or partner song) was crafted from Christopher Marlowe's famous poem The Passionate Shepherd to His Love and The Nymph's Reply to the Shepherd by Sir Walter Raleigh. The music includes optional chords for Renaissance Guitar, which was tuned the same as a modern GCEA ukulele (an 8-string ukulele would be a passable substitute if no period instrument is available). Versions for SA, SB, SAB and SATB choir are available at choirworks.com ...Recordings are of the SATB version, sung by Rocky Mountain Chamber Singers.
$2.49 ≈
2.26€
The Passionate Shepherd & The Nymph's Reply for SAB Choir & Piano (optional Renaissance Guitar)
The Passionate Shepherd & The Nymph's Reply for SAB Choir & Piano (optional Renaissance Guitar)
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Choral 3-part
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EASY
#
M
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The Passionate Shepherd & The
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Vocal Works
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SheetMusicPlus
Choral Choir,Choral (SAB) - Level 2 - Digital Download SKU: A0.1360944 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Renais...
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Choral Choir,Choral (SAB) - Level 2 - Digital Download SKU: A0.1360944 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Renaissance. 11 pages. Vocal Works #945428. Published by Vocal Works (A0.1360944). Visit choirworks.com for the choral music of M. Ryan Taylor. This cheeky quodlibet (or partner song) was crafted from Christopher Marlowe's famous poem The Passionate Shepherd to His Love and The Nymph's Reply to the Shepherd by Sir Walter Raleigh. The music includes optional chords for Renaissance Guitar, which was tuned the same as a modern GCEA ukulele (an 8-string ukulele would be a passable substitute if no period instrument is available). Versions for SA, SB, SAB and SATB choir are available at choirworks.com ...Recordings are of the SATB version, sung by Rocky Mountain Chamber Singers.
$2.49 ≈
2.26€
The Passionate Shepherd & The Nymph's Reply for 2-part Choir & Piano (optional Renaissance Guitar)
The Passionate Shepherd & The Nymph's Reply for 2-part Choir & Piano (optional Renaissance Guitar)
#
Choral 2-part
#
EASY
#
M
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The Passionate Shepherd & The
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Vocal Works
#
SheetMusicPlus
Choral Choir,Choral (2-Part) - Level 2 - Digital Download SKU: A0.1360939 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Ren...
(+)
Choral Choir,Choral (2-Part) - Level 2 - Digital Download SKU: A0.1360939 Composed by M. Ryan Taylor. 21st Century,Contemporary,Contest,Festival,Jazz,Renaissance. 11 pages. Vocal Works #945424. Published by Vocal Works (A0.1360939). Visit choirworks.com for the choral music of M. Ryan Taylor. This cheeky quodlibet (or partner song) was crafted from Christopher Marlowe's famous poem The Passionate Shepherd to His Love and The Nymph's Reply to the Shepherd by Sir Walter Raleigh. The music includes optional chords for Renaissance Guitar, which was tuned the same as a modern GCEA ukulele (an 8-string ukulele would be a passable substitute if no period instrument is available). Versions for SA, SB, SAB and SATB choir are available at choirworks.com ...Recordings are of the SATB version, sung by Rocky Mountain Chamber Singers.
$2.49 ≈
2.26€
The Passionate Shepherd & The Nymph's Reply duet with Renaissance Guitar or Ukulele
The Passionate Shepherd & The Nymph's Reply duet with Renaissance Guitar or Ukulele
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Vocal duet
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EASY
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M
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The Passionate Shepherd & The
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Vocal Works
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SheetMusicPlus
Voice Duet Medium Voice - Level 2 - Digital Download SKU: A0.1360953 Composed by M. Ryan Taylor. 21st Century,Contemporary,Instructional,Jazz,Renaissance...
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Voice Duet Medium Voice - Level 2 - Digital Download SKU: A0.1360953 Composed by M. Ryan Taylor. 21st Century,Contemporary,Instructional,Jazz,Renaissance. 8 pages. Vocal Works #945438. Published by Vocal Works (A0.1360953). This cheeky quodlibet (or partner song) was crafted from Christopher Marlowe's famous poem The Passionate Shepherd to His Love and The Nymph's Reply to the Shepherd by Sir Walter Raleigh. The music includes chords for Renaissance Guitar, which was tuned the same as a modern GCEA ukulele (an 8-string ukulele would be a passable substitute if no period instrument is available). Versions for SA, SB, SAB and SATB choir are available at choirworks.com ...
$5.99 ≈
5.44€
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
#
SheetMusicPlus
String Ensemble - Level 2 - Digital Download SKU: A0.549211 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 88 pages. J...
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String Ensemble - Level 2 - Digital Download 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 ≈
43.53€
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
#
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 ≈
43.53€
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 - 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 ≈
43.53€
Danket dem Herren for Antiphonal Brass Choir
Danket dem Herren for Antiphonal Brass Choir
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Brass ensemble
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INTERMEDIATE/ADVANCED
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Heinrich Schutz
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Richard Decker
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Danket dem Herren for Antiphon
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Charles Decker Music Press
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SheetMusicPlus
Brass Band Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.817178 Composed by Heinrich Schutz. Arranged by Richard Decker. Baro...
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Brass Band Euphonium,Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.817178 Composed by Heinrich Schutz. Arranged by Richard Decker. Baroque,Chamber,Historic,Multicultural,Renaissance,World. 64 pages. Charles Decker Music Press #6689647. Published by Charles Decker Music Press (A0.817178). Revered as one of the greatest German composers of the 17th century, Heinrich Schütz embraced his early studies with Giovanni Gabrieli and developed his own dramatic style of antiphonal music for voices and instruments.  Originally written for the centenary of the Reformation in 1617 to honor then Emperor Matthias and his family, this engaging composition translated as Praise the Lord for He is Kind was published in his Psalmen Davids (Op. 2) in 1619 and translates well four centuries later, giving today's brass choirs the opportunity to recreate those glorious antiphonal choir sounds of the early Baroque period.  Beyond brass ensemble concerts, consider adding some musical fireworks to your next band or orchestra concerts with this impressive and memorable showcase for your brass section.  Trumpet parts in B-flat and alternate C trumpet are provided. A recording of the entire transcription is included.See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$23.95 ≈
21.74€
Omnes Gentes Plaudite - Motet for 16-part Trombone Choir
Omnes Gentes Plaudite - Motet for 16-part Trombone Choir
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Giovanni Gabrieli
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Russell McKinney
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Omnes Gentes Plaudite - Motet
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Gordon Cherry
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SheetMusicPlus
Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792525 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renais...
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Brass Ensemble Trombone - Level 5 - Digital Download SKU: A0.792525 Composed by Giovanni Gabrieli. Arranged by Russell McKinney. Baroque,Classical,Renaissance. Score and parts. 44 pages. Gordon Cherry #5008311. Published by Gordon Cherry (A0.792525). Omnes Gentes Plaudite by Giovanni is a 16-part vocal motet in 4 choirs that has been transcribed for Trombone choir by Russell McKinney. As with most of Gabrieli’s works, there is a stereophonic effect produced by separating the choirs in the hall. Each choir has its opportunity to sound the melody, followed by the others choirs, augmenting the previous effect even more. This 4-minute work is appropriate for advanced performers.
$27.50 ≈
24.96€
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Double Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...
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Bass Trombone,Trumpet - Level 3 - Digital Download SKU: A0.549202 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Renaissance,Standards. 47 pages. Jmsgu3 #3460779. Published by jmsgu3 (A0.549202). An antiphonal masterwork from the Sacrae Symphoniae, Venice,1597. Minimum instrumentation: 2 Trumpets, 2 French Horns, 2 Tenor Trombones, 2 Bass Trombones. Suggested instrumentation: multiples of the minimum instrumentation, e.g., 4 or 8 on each part. Place the choirs left and right - separated by enough space to accentuate the antiphonal nature of the music entirely. It is best performed in an ample reverberant space. Euphoniums might replace some of the trombones to good effect. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. It seems like Gabrieli may have invented dynamics – or was rather the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a response from the group on the other. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation here. Also, only parts marked Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – which is called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.53€
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
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549201 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3460719. Published by jmsgu3 (A0.549201). Instrumentation: 2 piccolos, 3 concert flutes, 1 alto flute, 1 bass flute, 1 cello. Arranged in two antiphonal choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg ea. Duration: ca. 3:00 Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.53€
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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Cello
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INTERMEDIATE
#
Gabrieli
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James M
#
Gabrieli: Canzon Septimi Toni
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jmsgu3
#
SheetMusicPlus
Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #346...
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Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.53€
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 - Digital Download SKU: A0.549205 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 3 - Digital Download 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 ≈
43.53€
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
#
James M
#
Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. ...
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Woodwind Ensemble Contrabassoon,English Horn,Oboe - Level 2 - Digital Download SKU: A0.549212 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3465004. Published by jmsgu3 (A0.549212). A musical monument: the first composition to employ dynamics. Instrumentation: 3 oboes, 3 English horns, 2 bassoons, 1 contrabassoon. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86.  Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95 ≈
43.53€
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
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 ...
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Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.549210 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 59 pages. Jmsgu3 #3464701. Published by jmsgu3 (A0.549210). A musical monument: the first composition to employ dynamics. Instrumentation: 1 piccolo, 5 concert flutes, 1 alto flute, 1 bass flute 1 cello. Arranged in two antiphonal choirs. Full Score: 27 pg. 81 ms 4/2, Study Score: 14 pg., Instrumental parts: 2 pg. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95 ≈
43.53€
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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Trumpet, Trombone (duet)
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EASY
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Giovanni Gabrieli
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James M
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1 Bass Trombone
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest...
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Brass Ensemble Trombone,Trumpet - Level 2 - Digital Download 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 ≈
43.53€
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
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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 ≈
43.53€
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