Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Brass Ensemble Horn,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones. InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Brass Quartet Horn,Trombone,Trumpet - Level 5 - Digital Download SKU: A0.1307442 By Laurent de Rillé. By Laurent de Rillé. Arranged by Andrew Lamb. 19th Century,Chamber. 34 pages. Andrew Lamb #896725. Published by Andrew Lamb (A0.1307442). Introducing this enchanting arrangement of Les Mousseliniers for Brass Quartet by the renowned composer Laurent de Rillé, arranged by yours truly, Andrew Lamb! 🎺🎼Instrumentation: 2 Bb Trumpets/Cornets French Horn Trombone (in Bass Clef) Extra Parts: Tenor Horn in Eb (as a substitute for French Horn) Baritone/Euphonium part in Treble Clef (as a substitute for Trombone) 🎵 Level of Difficulty: Advanced 🌟 Potential Uses: Perfect for concerts, recitals, and educational purposes, this arrangement breathes new life into a classic composition, making it an ideal choice for a variety of performance settings.About the Composer: François Anatole Laurent de Rillé (24 November 1828 – 26 August 1915) was a distinguished French composer, writer, and musical theorist. His contributions to the world of music extend beyond his compositions, as he played a pivotal role in the Orphéonist movement, alongside luminaries such as Hector Berlioz and Charles Gounod.🌿 The Orphéonist Movement: Laurent de Rillé's legacy is intricately tied to the Orphéonist movement, an initiative aimed at bringing the joys of music to the masses through male choir associations. The movement takes its name from the first of these associations, the Orphéon in Paris, named after the mythical Orpheus.📚 De Rillé's Contributions: Laurent de Rillé's influence extended far beyond his compositions. He authored numerous pieces for male choirs and arranged works by esteemed composers like Verdi, Donizetti, and Rossini. His writings on organizing choirs and training their members have been instrumental in the growth of male choir societies. 🎶🎼 Les Ruines de Gaza (The Destruction of Gaza) and Les Martyres aux Arènes (Martyrs of the Arena): Though many of de Rillé's compositions have faded into obscurity, his choral works, especially Les Ruines de Gaza and Les Martyres aux Arènes, remain timeless favorites among male choir societies, a testament to the enduring quality of his music.In this arrangement of Les Mousseliniers, you have the opportunity to breathe new life into de Rillé's musical genius. Whether you're planning a concert, recital, or an educational event, this arrangement will captivate and inspire your audience. 🌟Like and subscribe for more musical enchantment, and let the timeless melodies of Laurent de Rillé shine through your Brass Quartet's performance! 🎶�🎺.

Brass Quartet Horn,Trombone,Trumpet - Level 2 - Digital Download SKU: A0.626888 By Stephen DeCesare. By Traditional. Arranged by Stephen DeCesare. Celtic,Christmas,Folk,Instructional,Irish,Standards. 17 pages. Exultet Music #5802023. Published by Exultet Music (A0.626888). The traditional Welsh lullaby that has been popularized by artists such as The Choir of King's College, The Irish Tenors and was also featured in the 1987 film Empire of the Sun has been freshly arranged for a Brass Quartet (Bb-Trumpet (2), French Horn, Trombone) with Piano accompaniment. Accessible and appropriate for any church, school or concert setting. An accompaniment track is also available.