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 Ensemble Trombone,Trumpet - Level 2 - Digital Download SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.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 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 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 Cornet,Horn,Trombone - Level 3 - Digital Download SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 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.

Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. 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.

Strings - Level 3 - Digital Download SKU: A0.549209 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3462323. Published by jmsgu3 (A0.549209). Instrumentation: Two string quartets arranged antiphonally. Full Score: 28 pgs. Study Score: 14 pgs. 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 more 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 which 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 by 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.  www.jamesguthrie.com.

Rhythm Section Voice - Level 1 - Digital Download SKU: A0.1398101 By Jax. By Jacqueline Miskanic and Wayne Wilkins. Arranged by Hollywood Charts. Classical,Pop,Wedding. 4 pages. Hollywood Charts #981411. Published by Hollywood Charts (A0.1398101). Like My Father is a heartwarming and poignant song by Jax, celebrating the everlasting bond and enduring love of a father-daughter relationship. This exceptional piece, arranged for rhythm section, captures the essence of Jax's touching tribute to parental love and the hope of finding a partner with similar virtues.This transcription is meticulously crafted to encompass the gentle, yet powerful melody that Jax beautifully conveys in her original composition. It offers a versatile arrangement suitable for various skill levels, making it an ideal choice for musicians seeking to perform this emotive piece.

Instrumental Duet Instrumental Duet,Organ,Piano - Level 4 - Digital Download SKU: A0.809536 Composed by John Darwall. Arranged by Marilyn Thompon. Christian,Gospel,Sacred. Score and parts. 8 pages. Marilyn Thompson #6120947. Published by Marilyn Thompson (A0.809536). This celebratory hymn of Christ and His Kingdom is joyously expressed in this colorful combination of Piano and Organ. Orchestral parts heard on the demo are also available from the arranger as well as a choral or vocal duo setting to enhance a large ensemble. Please contact marilyn@www.mtmusicministries.com ASCAP for further information.

Organ - Level 4 - Digital Download SKU: A0.809599 Composed by John Darwall. Arranged by Marilyn Thompson. Christian,Easter,Sacred. Score. 7 pages. Marilyn Thompson #6350091. Published by Marilyn Thompson (A0.809599).  This celebratory hymn of Christ and His Kingdom is joyously expressed in this colorful arrangement for Organ. Orchestral parts heard on the demo are also available from the arranger as well as a choral or vocal duo setting to enhance a large ensemble. A Piano/Organ Duet is also available on a separate post. Please contact marilyn@www.mtmusicministries.com ASCAP for further information. 

Choir Sacred Instrumental Ensemble - Digital Download SKU: JX.00-32307 Composed by Chris Tomlin and Ed Cash. Arranged by Richard Kingsmore. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred SingPraise Series. Sacred. Part(s). 28 pages. Jubilate Music Group - Digital #00-32307. Published by Jubilate Music Group - Digital (JX.00-32307). English.From quiet dignity to sweeping majesty, Richard Kingsmore arrangement of Praise The Father, Praise The Son covers the breadth of worship expression. The choral writing is accessible yet while not being over simple. The optional brass and percussion lends a special touch. Chris Tomlin and Richard Kingsmore at the best!

Easy Piano - Level 2 - Digital Download SKU: A0.1088212 Composed by Eric Coates. Arranged by Janet and Alan Bullard (The Janet and Alan Bullard Piano Series). 20th Century,Romantic Period,Standards. Score. 2 pages. Colne Edition / BullardMusic #692467. Published by Colne Edition / BullardMusic (A0.1088212). Eric Coates’ By the Sleepy Lagoon (1930) was inspired by the view on a warm, still summer evening looking across a lagoon-like pebble beach leading steeply down to a deep blue sea at Selsey on England’s south coast. Originally scored for orchestra, it became the theme tune for the British radio programme ‘Desert Island Discs’ since its inception in 1942 and was one of the many successful pieces by Eric Coates (1886-1957) which cheered the British people during the second world war and afterwards. The Janet and Alan Bullard Piano Series contains a range of arrangements for easy piano, old and new. Janet Bullard has a busy and thriving piano teaching practice and many years’ experience of teaching adults and children. Alan Bullard is a pianist, composer and arranger whose music is performed widely. Together they are the authors of the successful Pianoworks series of tutor and repertoire books for beginner pianists, published by OUP. www.bullardmusic.co.uk.

Marching Band - Level 2 - Digital Download SKU: A0.1252216 By Miley Cyrus. By Henry Walter, Lukasz Gottwald, Maureen McDonald, Sacha Skarbek, and Stephan Richard Moccio. Arranged by Joseph Whitt. Pop. Score and Parts. 22 pages. Promethean Music #846181. Published by Promethean Music (A0.1252216). This is an arrangement of the pop tune Wrecking Ball performed by Miley Cyrus. The arrangement is written as the main chorus melody for full marching band ensembles, to be used as a time out stand tune.

Brass Quartet - Grade 3 - Digital Download SKU: DX.145413 Arranged by Douglas Smith. Christmas. Sheet Music. Score and parts. 23 pages. David E. Smith - Digital Sheet Music #145413. Published by David E. Smith - Digital Sheet Music (DX.145413). Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). Right out of the ate the first trumpet establishes the tune and the style in a vigorous manner. The middle voices then chase after each other in a gracious counterpoint. The middle section presents the tune in the trombone line while the trumpets offer an obbligato addition. With the second trombone presenting the tune the upper voices offer a rollicking accompaniment. The a modulation where the style becomes more florid it all becomes more solidified to a hold. Then, it takes off once again the a brisk ending.

Flute Quartet,Woodwind Ensemble Flute - Level 3 - Digital Download SKU: A0.1410410 By Elton John. By Elton John and Tim Rice. Arranged by Sean Sullivan. 20th Century,Film/TV,Pop,Rock. 11 pages. Sean Sullivan #992826. Published by Sean Sullivan (A0.1410410). This beautiful and iconic song from the beloved Disney movie is perfect for flute players looking to showcase their skills in a quartet setting. Our arrangement is expertly crafted to highlight the unique qualities of each flute part, allowing each player to shine while coming together to create a harmonious and enchanting performance.Don't miss this opportunity to add a touch of Disney magic to your flute ensemble repertoire. Purchase our sheet music of Can You Feel the Love Tonight today and let the music of The Lion King come alive in your next performance!

Ocarina - Level 2 - Digital Download SKU: A0.1327130 Composed by Traditional. Arranged by songbooks.info. Country,Folk,Traditional. Score. 3 pages. Songbooks.info #915206. Published by songbooks.info (A0.1327130). Folk and gospel songs from all over the world - notated for the Ocarina with 10/12 holes. The classic musical notation or the lyrics indicate the rhythm of the tones, and a fingering diagram shows how the appropriate tone is played. A simple explanation of the fingering images for the Ocarina is included in the appendix. The song's recording was made at a slow tempo. We hope you enjoy making music...!Folk und Gospel Songs aus aller Welt - notiert für die Okarina mit 10/12 Löchern. Die klassische Notenschrift bzw. der Liedtext gibt die Rhythmik der Töne an, wie der passende Ton gespielt wird zeigt ein Griffbild. Eine einfache Erklärung der Griffbilder für die Okarina ist im Anhang. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!