| |
Singpartitur
Titel nach Uploader: Madrigale für fünf Stimmen. Heft IV, SV 75–93
Instrumentierung |
Alt, Tenor, Bass, Stimme |
Partitur für |
Quintett |
Art der Partitur |
Singpartitur |
Verleger |
Ricciardo Amadino |
Sprache |
Italienisch |
Schwierigkeitsgrad |
Fortgeschritten |
Jahr der Komposition |
1600 |
Stimmen
Titel nach Uploader: Madrigale für fünf Stimmen. Heft IV – Stimmen, SV 75–93
Instrumentierung |
Alt, Tenor, Bass, Stimme |
Partitur für |
Quintett |
Art der Partitur |
Stimmen |
Verleger |
Ricciardo Amadino |
Sprache |
Italienisch |
Schwierigkeitsgrad |
Fortgeschritten |
Jahr der Komposition |
1600 |
Arrangement for quintet instruments
Titel nach Uploader: Monteverdi - The Fourth Book of Madrigals (1603) (Complete)
Instrumentierung |
Klarinette, Saxophon, Fagott, Oboe, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Bügelhorn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
1 bis 20 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
74'42 |
Genre |
Klassische Musik/Arrangement |
n this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking.
He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
All 20 madrigals are here:
1. Ah! Dolente Partita – Oh, Sweet Parting!
2. Cor Mio Mentre Vi Miro – My Heart as I dream I turn into you.
3. Cor Mio Non Mori? E Mori – My heart did not die? And it died
4. Sfogava con le stelle – He dallied with the stars
5. Volgea l' anima mia – Volgea my soul, so dear and sweetly shining
6. Anima mia perdona – My soul forgives
7. Che se tu se ' il cor mio – That if you are as good as my heart
8. Luci Serene e Chiare – Lights, serene and clear
9. La piaga c'ho nel core – The plague is in the heart
10. Voi pur da me partite – You do not mind me, though
11. A un Giro Sol de' Begl' Occhi – At one glance of good eyes
12. Ohime se Tanto Amate – Alas! If you like it too much
13. Io Mi Son Giovinetta – I’m a young girl, laughing and singing
14. Quel Augellin Che Canta – That little bird that sings
15. Non Più Guerra Pietate – No more fighting, pray, my beautiful eyes
16. Si Ch'io Vorrei Morire – How I want to die
17. Anima Dolorosa – Suffering soul that lives so much pain and torment
18. Anima Del Cor Mio – My soul’s heart
19. Longe da Te Cor Mio – Stay away from me
20. Piagne e Sospira – He drinks and sighs
Parts are supplied to suit flexible brass or wind (or both) quintets as follows:
Part 1 in Bb, Part 2 in Bb, Part 3 in Eb/F/Bb, Part 4 in Bb/C(BC) and part 5 in Eb/Bb/C(BC)
No.01 Ah! Dolente partita. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 01. Ah! Dolente partita
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Bügelhorn, Posaune, Trompete, Tuba, Tenorhorn, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
1 bis 1 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
4'0 |
Genre |
Klassische Musik/Arrangement |
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
1. Ah! Dolente partita – Oh, Sad parting!
This song speaks of leaving one's lover, but the text is rife with double entendres.
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.02 Cor mio mentre vi miro. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 02. Cor mio mentre vi miro
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Bügelhorn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
2 bis 2 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
2. Cor mio mentre vi miro – My Heart as I dream I turn into you.
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.03 Cor mio non mori - emori? Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 03. Cor mio non mori - emori?
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Bügelhorn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
3 bis 3 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
3. Cor Mio Non Mori? E Mori – My heart did not die? And it died
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.04 Sfogava con le stelle. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 04. Sfogava con le stelle
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
4 bis 4 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
4'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
4. Sfogava con le stelle – He dallied with the stars
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.05 Volgea l'anima mia. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 05. Volgea l'anima mia
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
5 bis 5 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
4'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
5. Volgea l'anima mia – Volgea my soul, so dear and sweetly shining
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.06 Anima mia perdona. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 06. Anima mia perdona
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
6 bis 6 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
5'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
6. Anima mia perdona – My soul forgive
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.07 Che se tu se'il cor mio. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 07. Che se tu se'il cor mio
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
7 bis 7 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
7. Che se tu se'il cor mio – That if you are as good as my heart
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.08 Luci serene e chiare. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 08. Luci serene e chiare
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
8 bis 8 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
5'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
8. Luci serene e chiare – Lights, serene and clear
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.09 La piaga c'ho nel core. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 09. La piaga c'ho nel core
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
9 bis 9 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
9. La piaga c'ho nel core – The plague is in the heart
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.10 Voi pur da me partite. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 10. Voi pur da me partite
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
10 bis 10 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
6'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
10. Voi pur da me partite – You do not mind me, though
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.11 A un Giro Sol de' Begl' Occhi. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 11. A un Giro Sol de' Begl' Occhi
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
11 bis 11 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
11. A un Giro Sol de' Begl' Occhi – At one glance of good eyes
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.12 Ohime se Tanto Amate. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 12. Ohime se Tanto Amate
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
12 bis 12 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
5'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
12. Ohime se Tanto Amate – Alas! If you like it too much
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.13 Io mi son giovinetta. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 13. Io mi son giovinetta
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
13 bis 13 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
13. Io mi son giovinetta – I’m a young girl, laughing and singing
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.14 Quel augellin che canta. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 14. Quel augellin che canta
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
14 bis 14 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
2'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - The Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
14. Quel augellin che canta – That little bird that sings
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.15 Non più guerra pietate. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 15. Non più guerra pietate
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
15 bis 15 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
15. Non più guerra pietate – No more fighting, pray, my beautiful eyes
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.16 Si ch'io vorrei morire. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 16. Si ch'io vorrei morire
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
16 bis 16 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
16. Si ch'io vorrei morire – How I want to die
There are some very 'tricky' clashes which need to be handled in a vocal style. Plenty of vibrato and confidence is needed to pull these off.
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.17 Anima dolorosa. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 17. Anima dolorosa
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
17 bis 17 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
17. Anima dolorosa – Suffering soul that lives so much pain and torment
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
No.18 Anima del cor mio. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 18. Anima del cor mio
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
18 bis 18 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
2'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
18. Anima del cor mio – My soul’s heart
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
Other transpositions available on request.
No.19 Longe da te cor mio. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 19. Longe da te cor mio
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Baritonsaxophon, Sopransaxophone, Tenorblockflöte, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
19 bis 19 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Mittel |
Länge |
3'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
19. Longe da te cor mio – Stay away from me
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
Other transpositions available on request
No.20 Piagne e sospira. Arrangement for quintet instruments
Titel nach Uploader: Monteverdi Madrigals Book 4 - 20. Piagne e sospira
Instrumentierung |
Klarinette, Saxophon, Fagott, Englischhorn, Bassposaune, Tenorposaune, Baritonhorn, Althorn, Kornett, Euphonium, Horn, Posaune, Trompete, Tuba, Tenorhorn, Bassklarinette, Altsaxophon, Tenorsaxophon, Baritonsaxophon, Sopransaxophone, Basstuba |
Partitur für |
Quintett |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
20 bis 20 von 20 |
Arrangeur |
Mike Lyons |
Verleger |
Mike Lyons |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
7'0 |
Genre |
Klassische Musik/Arrangement |
Monteverdi - Fourth Book of Madrigals 1603
In this book, Monteverdi continues to develop the techniques and writing practices that would eventually form the first opera and his “Stile Nuovo”. The polyphony becomes more complex and more tonal and the interdependence of the parts more striking. He is experimenting with more dissonance but also moves towards more tonal writing. Although a far cry from the “I IV V and minor” of the modern pop song, he is nonetheless helping to push forward a more diatonic type of harmony with a more dramatic tonal and harmonic structure that goes much more towards true word painting than his previous books.
20. Piagne e sospira – He drinks and sighs
This is a very complex song, needing lots of breath control and a strong sense of how the music flows. More so than almost any other song in this book.
Flexible quintet parts are supplied as follows:
Part 1 in Bb,
Part 2 in Bb,
Part 3 in Bb/Eb/F,
Part 4 in Bb/Eb/C(Bass clef) and
Part 5 in Bb/Eb/C(Bass clef)
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