Canzon seconda a quattro Cover Image

Canzon seconda a quattro: Conductor's Score

$9.95 USD
$9.95 USD
Skip to product information
Canzon seconda a quattro Cover Image
Canzon seconda a quattro: Conductor's Score

Canzon seconda a quattro: Conductor's Score

By Giovanni Gabrieli / arr. J. C. Sherman

Grade: 3

Item: 36-50548002
$9.95
Shipped

One moment…

Description
A sonorous arrangement such as this makes an excellent selection for any type of program. Conservative ranges help make it accessible for festival and contest performances. It is mature music so professionals with little time to prepare will find this an efficient performing edition.

Canzon seconda a quattro: Conductor's Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

No sample pages found.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: LudwigMasters Brass Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-361916-8
ISBN13: 978-1-63-361916-6
UPC: 654690484956
SKU: 36-50548002
Instrumentation: Euph/ Tuba 4tet

More about this title

About the Composer: Giovanni Gabrieli

Giovanni Gabrieli (1554-1612) was a cornerstone of the Venetian school and one of the most influential composers of the late Renaissance. Working primarily in Venice, he developed the polychoral style that defined his era, writing for multiple spatially separated groups that created a dialogue of sound across the basilica. His mastery of brass writing shaped how composers approached the medium for centuries to come.

Gabrieli's legacy in music education centers on his structural clarity and harmonic sophistication. His works demonstrate how to build momentum through textural layering and how to write idiomatically for instruments without sacrificing musical substance. Teachers and directors return to his canzonas and motets because they reveal compositional principles that remain relevant regardless of instrumentation.

Why we love this

This arrangement captures the architectural grandeur of Gabrieli's thinking without demanding extended rehearsal time or virtuosic ranges from your players. Sherman's voicing sits beautifully for euphonium and tuba, preserving the harmonic richness while making the piece playable by solid Grade 3 ensembles. It reads as mature, substantial music in a 10-minute rehearsal commitment.

What to expect

Stately and resonant. The piece unfolds with the deliberate pacing of a processional, harmonies shifting beneath a steady architectural frame. There's dignity here, but also warmth in the brass sonority that rewards careful listening.

Who it's for

Directors programming a festival or contest who need repertoire that sounds polished without weeks of rehearsal. Ensembles with solid fundamentals in the Grade 3 range will navigate the ranges and rhythmic content confidently while gaining exposure to Renaissance compositional technique.

How to get the most out of it

  • Shape the sectional phrases as architectural blocks. Each canzona section should feel like a distinct statement, not a continuous line. Let the ensemble reset slightly at major cadences.
  • Balance the inner voices carefully in rehearsal. With four parts distributed across euphonium and tuba, register clarity matters more than blend. Record a sectional to hear what the audience will hear.
  • Attend to the harmonic rhythm. Gabrieli's strength lies in his chord progressions and voice leading. Slow tempos reveal more of this sophistication than rushing through the measures.
  • Treat the dynamic contrasts as structural markers, not atmospheric choices. They telegraph where the argument is heading.

How to use it

Pair this with modern brass writing to frame a concert that spans four centuries of the idiom. Alternatively, program it early in the set when your ensemble is fresh; Gabrieli's structural clarity works best when players can listen to the shape they're creating.

Skills your students will build

  • Voice leading in four-part harmony
  • Sectional phrasing and architectural form
  • Harmonic analysis and chord function
  • Intonation and balance in close register ranges
  • Sustained tone production over longer phrases

You May Also Like