Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. 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.  

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.

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.

Brass Band Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (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.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 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 he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Woodwind Ensemble,Woodwind Quintet Bassoon,Clarinet,Flute,Horn,Oboe - Level 3 - Digital Download SKU: A0.1278168 Composed by William Augustus Montgomery. Arranged by Andrew Lamb. 19th Century,Chamber,Praise & Worship. 9 pages. Andrew Lamb #869865. Published by Andrew Lamb (A0.1278168). Introducing A Dream - a wind quintet arrangement by the Scottish composer William Augustus Montgomery. This arrangement, crafted for Flute, Oboe, Clarinet, Horn, and Bassoon, brings to life the composer's enchanting melodies in a harmonious ensemble. With an intermediate level of difficulty, A Dream is accessible to a wide range of musicians, making it an ideal choice for church services, concerts, recitals, and educational endeavors. Its evocative nature and melodic richness offer performers an opportunity to showcase their skills while collectively weaving a musical tapestry that's both soothing and invigorating. As an exquisite option for an introductory voluntary, A Dream sets the perfect tone for any occasion. Its Scottish origins add a touch of cultural elegance, while the arrangement's versatility allows it to beautifully complement various settings, evoking emotions and connecting with audiences on a profound level. Whether you're a seasoned quintet seeking to expand your repertoire or an educational ensemble exploring the world of chamber music, A Dream offers an unforgettable musical journey. Elevate your performances with this arrangement, and let the enchanting melodies transport you and your listeners to a realm of musical reverie.

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.791174 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 9 pages. Kevin P Holdgate #5337293. Published by Kevin P Holdgate (A0.791174). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Piano,Viola - Level 3 - Digital Download SKU: A0.791179 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 4 pages. Kevin P Holdgate #5347099. Published by Kevin P Holdgate (A0.791179). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Baritone Saxophone,Piano - Level 3 - Digital Download SKU: A0.791176 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 5 pages. Kevin P Holdgate #5337339. Published by Kevin P Holdgate (A0.791176). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grades 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Guitar,Piano - Level 3 - Digital Download SKU: A0.791181 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 8 pages. Kevin P Holdgate #5349555. Published by Kevin P Holdgate (A0.791181). I did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grades 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Clarinet,Piano - Level 3 - Digital Download SKU: A0.791173 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 8 pages. Kevin P Holdgate #5337273. Published by Kevin P Holdgate (A0.791173). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Bassoon,Piano - Level 3 - Digital Download SKU: A0.791177 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 8 pages. Kevin P Holdgate #5347087. Published by Kevin P Holdgate (A0.791177). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Oboe,Piano - Level 3 - Digital Download SKU: A0.791172 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 9 pages. Kevin P Holdgate #5337251. Published by Kevin P Holdgate (A0.791172). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Piano,Tenor Saxophone - Level 3 - Digital Download SKU: A0.791175 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. Score and part. 10 pages. Kevin P Holdgate #5337319. Published by Kevin P Holdgate (A0.791175). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.

Piano,Violin - Level 3 - Digital Download SKU: A0.791180 By The Moody Blues. By Jeff Wayne. Arranged by Kevin P Holdgate. Rock. 8 pages. Kevin P Holdgate #5347101. Published by Kevin P Holdgate (A0.791180). KPHMS 'Solo' CollectionI did this arrangement originally for a 'Sci-Fi' inspired proms concert in Derbyshire. The organisers had hired two full-sized Daleks which stood on the sides of the stage through the performance and never moved, but pointed their 'exterminate' weapons in my direction throughout the performance. An experience that many conductors may feel they have experienced.The music is from the original 'War of the Worlds' film and was recorded by Justin Heyward and the band 'Moody Blues'.There are solo versions with piano accompaniment of this song available for a variety of instruments in suitable keys. The difficulty level ranges between grade 3 to 5 based on the ABRSM/Trinity scale requirements.A 10 piece version and various solo versions with piano accompaniment are available for this work together with a full brass band version. There are also vocal versions for a male and/or female voice with a standard 3 horn 'Cruise ship' format backing.