Flute Choir,Woodwind Ensemble Alto Flute,Bass Flute,Piccolo - Level 3 - Digital Download SKU: A0.1190998 Composed by Erik Meyer. Chamber,Contemporary. 44 pages. Erik Meyer #790527. Published by Erik Meyer (A0.1190998). A fun, modern, and  musically attractive suite of pieces for intermediate flute choir, commissioned by the Gannon University Flute Choir, Erie PA.I. Air (a whimsical 6/8 dance)II. Hymn (a gentle, sweet song)III. Ballad (a majestic tune fit for epic deeds)This Suite is for Flute Choir of at least 5 parts. The parts are flexible so that any flute choir could perform the work, regardless of size or make up:Piccolo part is optional and not required for performance.Part 5 requires an Alto or Bass flute - all other parts can use C Flute.Part 5 is written to include ContraBass Flute, for those who have one. ContraBass is not required.The Full Score is a C-score - notes are written at the sounding pitch (IE not transposed for Alto Flute).Instrument parts included:Part 0: Piccolo (optional)Part 1: C FlutePart 2: C FlutePart 3: C Flute & Alto FlutePart 4: C Flute & Alto FlutePart 5: Alto Flute & Bass Flute (marked for ContraBass)*purchasing this will give you a PDF document with a full score and set of parts. You are free to print as many parts as needed for your ensemble. Please do not share or distribue this PDF with others.*Questions? Suggestions? Requests? contact me at aemeyer.com.

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.

Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.549207 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 44 pages. Jmsgu3 #3462167. Published by jmsgu3 (A0.549207). Instrumentation: Double Sax Quartet (SSAATTBB) arranged antiphonally (SATB - SATB). Full Score: 28 pg. Study Score: 14 pg. Instrumental 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 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.

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.

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.

String Ensemble Cello - Level 2 - Digital Download SKU: A0.549267 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Instructional,Renaissance,Standards. 45 pages. Jmsgu3 #3479835. Published by jmsgu3 (A0.549267). A musical monument: the first composition to employ dynamics. Minimum instrumentation: 11 cellos.   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.

Choral Choir (SATB) - Digital Download SKU: A0.724763 Composed by Renato Tagliabue. Contemporary,Folk,Patriotic. Octavo. 21 pages. Renato Tagliabue #5033253. Published by Renato Tagliabue (A0.724763). O Captain! My Captain! - For Bass (Solo, or all Basses), SATB Choir, Oboe and String Quartet.

Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 3 - Digital Download SKU: A0.1405118 By Craig Slegel. By Wolfgang Amadeus Mozart. Arranged by Craig Slegel. Chamber,Classical. 23 pages. Craig Slegel #988158. Published by Craig Slegel (A0.1405118). A clarinet classic, Mozart's Clarinet Concerto in A Major, K.622 is one of the most well known pieces to any musician.  This arrangement of the work for Clarinet Choir is designed to be as close of a transcription to the orchestral version as possible.  No cuts or abbreviations have been made, but for the convenience of the player, the piece has been transposed into concert B-flat.Included here is Mvt. 2, Andante from the concerto.  It's scored for Solo Clarinet with Clarinet Choir accompainment, with parts including: Solo Clarinet in Bb Clarinet in Eb (Optional, but recommended) Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 Alto Clarinet (Optional) Bass Clarinet Contrabass Clarinet (Optional) The Solo B-flat Clarinet part is designed to be fully compatible with the soloists preferred edition of the concerto. Articulation used is fully open to the interpretation of the soloist. The provided solo part is meant as a guide.The E-flat Soprano Clarinet part is not required, but highly recommended. In general, the E-flat Alto Clarinet part is similar to the B-flat Clarinet 4 part, and the B-flat Contrabass Clarinet part is similar to the B-flat Bass Clarinet part. Therefore, the E-flat Alto Clarinet and B-flat Contrabass Clarinet parts are optional.

Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1405119 Composed by Wolfgang Amadeus Mozart. Arranged by Craig Slegel. Chamber,Classical. 73 pages. Craig Slegel #988159. Published by Craig Slegel (A0.1405119). A clarinet classic, Mozart's Clarinet Concerto in A Major, K.622 is one of the most well known pieces to any musician.  This arrangement of the work for Clarinet Choir is designed to be as close of a transcription to the orchestral version as possible.  No cuts or abbreviations have been made, but for the convenience of the player, the piece has been transposed into concert B-flat.Included here is Mvt. 3, Rondo from the concerto.  It's scored for Solo Clarinet with Clarinet Choir accompainment, with parts including: Solo Clarinet in Bb Clarinet in Eb (Optional, but recommended) Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 Alto Clarinet (Optional) Bass Clarinet Contrabass Clarinet (Optional) The Solo B-flat Clarinet part is designed to be fully compatible with the soloists preferred edition of the concerto. Articulation used is fully open to the interpretation of the soloist. The provided solo part is meant as a guide.The E-flat Soprano Clarinet part is not required, but highly recommended. In general, the E-flat Alto Clarinet part is similar to the B-flat Clarinet 4 part, and the B-flat Contrabass Clarinet part is similar to the B-flat Bass Clarinet part. Therefore, the E-flat Alto Clarinet and B-flat Contrabass Clarinet parts are optional.

Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1405110 Composed by Wolfgang Amadeus Mozart. Arranged by Craig Slegel. Chamber,Classical. 94 pages. Craig Slegel #988149. Published by Craig Slegel (A0.1405110). A clarinet classic, Mozart's Clarinet Concerto in A Major, K.622 is one of the most well known pieces to any musician.  This arrangement of the work for Clarinet Choir is designed to be as close of a transcription to the orchestral version as possible.  No cuts or abbreviations have been made, but for the convenience of the player, the piece has been transposed into concert B-flat.  Included here is Mvt. 1, Allegro from the concerto.  It's scored for Solo Clarinet with Clarinet Choir accompainment, with parts including: Solo Clarinet in Bb Clarinet in Eb (Optional, but recommended) Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 Alto Clarinet (Optional) Bass Clarinet Contrabass Clarinet (Optional) The Solo B-flat Clarinet part is designed to be fully compatible with the soloists preferred edition of the concerto. Articulation used is fully open to the interpretation of the soloist. The provided solo part is meant as a guide.The E-flat Soprano Clarinet part is not required, but highly recommended. In general, the E-flat Alto Clarinet part is similar to the B-flat Clarinet 4 part, and the B-flat Contrabass Clarinet part is similar to the B-flat Bass Clarinet part. Therefore, the E-flat Alto Clarinet and B-flat Contrabass Clarinet parts are optional.

Clarinet Choir,Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1405120 Composed by Wolfgang Amadeus Mozart. Arranged by Craig Slegel. Chamber,Classical. 186 pages. Craig Slegel #988160. Published by Craig Slegel (A0.1405120). A clarinet classic, Mozart's Clarinet Concerto in A Major, K.622 is one of the most well known pieces to any musician.  This arrangement of the work for Clarinet Choir is designed to be as close of a transcription to the orchestral version as possible.  No cuts or abbreviations have been made, but for the convenience of the player, the piece has been transposed into concert B-flat.Included here are all 3 movements, Mvt. 1, Allegro, Mvt. 2, Andante, and Mvt. 3, Rondo from the concerto.  It's scored for Solo Clarinet with Clarinet Choir accompainment, with parts including: Solo Clarinet in Bb Clarinet in Eb (Optional, but recommended) Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb 3 Clarinet in Bb 4 Alto Clarinet (Optional) Bass Clarinet Contrabass Clarinet (Optional) The Solo B-flat Clarinet part is designed to be fully compatible with the soloists preferred edition of the concerto. Articulation used is fully open to the interpretation of the soloist. The provided solo part is meant as a guide.The E-flat Soprano Clarinet part is not required, but highly recommended. In general, the E-flat Alto Clarinet part is similar to the B-flat Clarinet 4 part, and the B-flat Contrabass Clarinet part is similar to the B-flat Bass Clarinet part.  Therefore, the E-flat Alto Clarinet and B-flat Contrabass Clarinet parts are optional.

Alto Voice,Soprano voice,Tenor Voice,Violin - Digital Download SKU: A0.1468245 By Arturo Escorza. By Manuel de Sumaya. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Religious,Sacred. 34 pages. Arturo Escorza #1046559. Published by Arturo Escorza (A0.1468245). Pajarillos Sonoros, an unpublished work by the notable Baroque Novohispano composer Manuel de Sumaya  for Choir SSAT and Violins. This piece, cataloged as 04-116 in the musical archive of the Cathedral of Guatemala, is a cantata for 4 voices with violins dedicated to the Virgin.Manuel de Sumaya (c. 1678-1755) was one of the most important composers of the Baroque period in Hispanic America, known for his innovative sacred music and influence on New Spanish. His work combines European tradition with local elements, creating a unique and rich fusion. He's the author of the first operas in North America.Features of the score:Full score: 26 pagesViolin parts: Violin 1 and Violin 2, 8 pagesVoices: Soprano 1, Soprano 2, Alto, and TenorUnfortunately, the basso continuo part is missing, so only the violin and vocal parts have been transcribed. This 106-bar piece is perfect for choirs and string ensembles looking to enrich their repertoire with historical and unique pieces.

Brass Ensemble Trombone - Level 4 - Digital Download SKU: A0.792819 Composed by Russell McKinney. Christian,Easter,Sacred. Score and parts. 12 pages. Gordon Cherry #6682937. Published by Gordon Cherry (A0.792819). Russell McKinney has composed Lenten Procession for 8-part Trombone Choir based on the hymn tunes A la venue de Noel, Aus der Tiefe rufe ich, and Southwell. This beautiful work of about 3 minutes in length is solemn and appropriate for any time around the Easter season. The work is scored for two 4-part Trombone choirs and can be performed by moderately advanced performers. A contrabass trombone can be used in the bottom part of choir 2 for added weight.

Woodwind Ensemble - Level 3 - Digital Download SKU: A0.1150569 Composed by Bill Malcolm. Arranged by Bill Malcolm. 20th Century,Ragtime,Traditional. 45 pages. Bill Malcolm #750746. Published by Bill Malcolm (A0.1150569). These three rags, The Bitcoin Rag, The Bear Market Drag, and The Wall Street Cakewalk, were written originally as a clarinet and bassoon duet. I was encouraged to transcribe them for concert band by the conductor of the Palos Verdes Symphonic Band, and subsequently for clarinet choir for Clarinet Fusion, an ensemble that has performed many of my works. This arrangement includes a percussion obligato and a basset clarinet part as an alternate for the alto clarinet voice. The sound bite is The Bitcoin Rag.

Choir and various instruments - Digital Download SKU: MQ.6941_BASS-E Composed by Gwyneth W. Walker. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #6941_Bass-E. Published by E. C. Schirmer Music Company - Digital (MQ.6941_BASS-E).