SKU: A0.549215

A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band.
1 Piccolo
At least 2 flutes, clarinets, alto & tenor saxes
At least 1 bass clarinet
At least  2 trumpets, horns, trombones & tubas
4 timpani
Score: 20 pg. 81 measures. Duration: 3:45 at half-note = 86.

Innovations

First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.

Polychoral Works

Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.

Spatial Music

Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.

First Works

Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.

Homophony

Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

 

SKU: A0.917410

Sinfonietta (alternate title Sinfonía de Vino y Aceite de Magallon) is a composition for concert band that can be played by any band whether it has 100 players or 30 players. It is at grade 3 level of difficulty and has several substitute parts for ensembles that may not have complete instrumentation. Although the scoring includes piccolo, oboes, bassoons, and French horns, these instruments are not needed to command a good performance.

Sinfonietta adheres to classical forms of symphonies by composers such as Mozart, Haydn and Beethoven. The forms are very clear so the players of the band can learn this important history.

The first movement is in standard Sonata Allegro form.

The second movement is in A B A form and features a solo trumpet.

The third movementis in a Rondo form (A B A C A) with three distinct themes.

The work was commissioned in 2017 by the town of Magallón, Spain in celebration of the town’s industries of wine and olive oil.  The mayor of the town of 1,000 inhabitants, Victor Manuel Chueca Rodriguez, was specific in his request for a composition at grade 3 level of difficulty. He also suggested the title as Symphony. Since it a three-movement composition instead of a four-movement composition (the normal Minuet and Trio movement is not included in this piece), the title of Sinfonietta instead of Symphony is used.

Gregory Fritzeis a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. His compositions have been performed more than one thousand times in over twenty-six countries. He has written over ninety compositionsfor orchestra, band, chamber ensemblesand soloists.  He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d'Onore  (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), 2nd Prize in the 2nd WASBE International Composition Contest 2019, several awards from The American Prize, annual composition awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others.  He has been commissioned by The Rhode Island Philharmonic Orchestra, The Army Band Pershing’s Own of Washington, DC, The Banda Municipal of Bilbao, The Primativa de Lliria, and others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. 

He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

SKU: A0.955742

Leise rieselt der Schnee is a popular children’s Weihnachtslied. However, in this arrangement, cheekily translated as Let It Snow … But Quietly, the well-known melody in 6/8 time is presented in 4/4 time with a soul treatment. Other German Christmas tunes have also been worked into this medium-difficulty piece. Even those unfamiliar with the German originals will I hope be able to enjoy the holiday season spirit conveyed with the obligatory sleigh bells!
This concert band reworking of my original big band chart has parts for the following instruments:
Piccolo, Flutes 1/2, Oboe, Bassoon
Eb Clarinet, Bb Clarinets 1/2/3, Eb Alto Clarinet, Bb Bass Clarinet
Eb Alto Saxophones 1/2, Bb Tenor Saxophones 1/2, Eb Baritone Saxophone
Bb Trumpets 1/2/3, F Horns 1/2/3/4 (alternative Eb parts included),
Trombones 1/2/3 (B.C. & Bb T.C.), Euphonium (B.C. & Bb T.C.),
Tuba (alternative Eb T.C. & Bb T.C. parts included)
Acoustic Bass, Drum Set, Glockenspiel,
Percussion (1 or 2 players – shaker/sleigh bells & chimes/tambourine)
For those bands without a full complement of players, key passages for instruments that may not be available are cued in other parts.
The Open For Solos section will be familiar to big band players, perhaps less so to concert band players. Some guidance will be needed here so that musicians playing the backing parts know when to play.
Suggested solos are notated in piccolo, flute, clarinet, alto saxophone, tenor saxophone, trumpet, and trombone. The harmonies are also included so that players with the necessary experience can improvise their own solos.
At the end of the piece, let the players fade out one by one until the percussionist with the sleigh bells is left, walking off stage. Only when the sleigh bells can no longer be heard is this piece over!

SKU: A0.750969

This original composition features a Piccolo and Flute in a lively little polka. It begins simply with a Piccolo and Flute playing the main theme with Drums accompaniment. Then follows a series of repeated sections adding counter melodies and additional instruments on each repeat - Most of the Brass playing only in the 4th time through. A Tag section follows reprising the original theme with Piccolo and Flute and light woodwind accompaniment. This gradually dies away with a sudden ff on the last two quavers by the whole band… There is also an optional Piano Accompaniment part included (Not shown on the score). There is a version for Orchestra as well.

The MP3 was recorded with NotePerformer 3.

Grade = 4 Duration = 2:30 mins.