Sonata Pian e Forte

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Sonata Pian e Forte
(Sacrae Symphoniae - 1597)
Trombone 1, 2–Alto

Gabrieli
  
8
  

           
 
p espr.
, 
 

    
       
 
25

arr. Eric Crees
,  
Andante sostenuto q = c.72
 
    
pp
B
mp
poco cresc.
C
p

   
       ,       
 
    
f warm
poco

p
broad
p
    


pp
tranquillo
   



  

f






p
 E
mp

 
    



pp

warm
G
  
  
f marc.
 ,        
  
 

64

D
F   
 
    
  
,


    















  

56
70

p
40
  

f sost., warm
,     , 






48

             
     




      

Trom. 13.14
31

A
f

p
leggiero
  
    
p


       
 p
f


 
f warm
H

 

            

p sim.
pp
f
warm

    ,       ,  
                        


f
rhythmic
sost.
Lead
    
      
    Lead
      









   










poco rall.
76
f
© 2000 Cala Music Publishing, London N2 9LJ. Photocopying prohibited
CMP0108-08
Sonata Pian e Forte
(Sacrae Symphoniae - 1597)
for 16 Trombones
Gabrieli
Performance Time 5:05
arr. Eric Crees
CHOIR LEFT
Trombone 1, 2–Alto
Andante sostenuto *


  
  

q
= c.72
,
  


   
   
p espr.


 

Trombone 3, 4–Tenor
   
 


,
   
  

  



p espr.
Lead
 
 
Trombone 5, 6–Tenor

,

   


 
 
 

p espr.
Trombone 7–Tenor
Trombone 8–Bass
CHOIR RIGHT

 

 
,

  
p espr.
 

,
Lead
  
   
  
 


  
,

Trombone 9, 10–Tenor
 







Trombone 11, 12–Tenor








Trombone 13, 14–Bass
















Trombone 15, 16–Bass



* ALL PARTS: Expression marks, especially crescendi and diminuendi, must not be overplayed; they are an
indication of the direction of musical lines as much as anything else. In general a sustained articulated style
is required.
© 2000 Cala Music Publishing, London N2 9LJ. Photocopying prohibited
CMP0108-08
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