SKU: A0.806966

EASTER PRELUDE for 3 TRUMPETS and 3 TROMBONES (unaccompanied)
Were You There? and Low in the Grave He Lay are used in this arrangement for Bb Trumpets & Trombones.  Baritone Treble Clef parts are provided from Trombone 1 & 2. Trombone 3 is Bass Trombone or Tuba.  Perfect way to open an Easter celebration!

51 measures.   Performance Time approx 2:25.  Medium in Difficulty (Grade 3)
Key: F - Ab - Eb.   Meter: 4/4 - 3/4 - 2/4.   Instrument Ranges (C4=middle C):
Trumpet 1 F4 - B5 (written).   Trumpet 2 D4 - G5 (written).   Trumpet 3 D4 - F5 (written).
Trombone 1 Eb3 - Ab4 (or Baritone TC 1).   Trombone 2 Bb2 - Eb4 (or Baritone TC 2).
Trombone 3Eb2 (Bb1) - Bb3 (Bass Trombone or Tuba).

SKU: A0.1220622

A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 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 he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

SKU: A0.806964

COME, THOU ALMIGHTY KING for 3 Bb TRUMPETS & 3 TROMBONES (unaccompanied)
60 measures.   Performance Time approx. 2:25.  Medium Difficult (Grade 4-)
Key: Bb - D - A.   Meter: 4/4- 3/4.   Instrument Ranges (C4=middle C): Trumpet 1 C4 - B5 (written)
Trumpet 2 A3 - F#5 (written).   Trumpet 3 B3 - G5 (written).  Trombone 1 Bb2 - F4
Trombone 2 Bb2 - F4.   Trombone 3 E2 - E4 (Bass Trombone or Tuba)

SKU: A0.524905

A celebrated Baroque work, Pachelbel's Canon in D radiates warmth, beauty and serenity, all in a stylishly flowing, timeless way. A  favorite for concerts and recitals, this peaceful brass quartet for two Bb trumpets and two trombones  is recommended for weddings, as a prelude, unity candle music, a bridal march, bridesmaid processional or wedding recessional.  Also recommended for traditional church services and other worship events, as a prelude, postlude, an offertory, interlude, silent prayer accompaniment and special music.  15 pages of music (that includes the score and separate two-page parts for trumpet 1, trumpet 2, trombone 1 and trombone 2).  Concert Key: Bb Major

SKU: A0.1224064

From Sacrae Symphoniae, Venice, 1597
Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.

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.