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Prelude

arr. Giulio Patara


Te Deum
  
                                         
Marc Antoine Charpentier 1643-1707

 
(1691-1692)

     
    
A B

Glockenspiel
 
  
                                              
 

Xilofono        
 

     
Xylophone  
 

   
                                       
 
   
                                  


          

Bass Xylophone
  

    
 

Bass Metallophone
                             

                          
 
 

Violin I           

    
 

          
                  
Violin II

                                       
    
 

 

Guitar 1        

                   
                 
 

          
Guitar 2
  

   
 
 

                                           
Guitar 3
 

    
 

Bass Guitar
                              
         

              
          
Soprano Recorder  
 

                   
          

    
   
 
    
 

Alto Recorder                                   

        
     
 

Tenor Recorder 
                                    


              
 

Trumpet in Bb


              
 

Alto Sax

          
                                      
 

Clavicembalo 1         

                    
                
 

Clavicembalo 2              

   
  
 

                                   
          
Clavicembalo 3

              
       
 

                 
    
Pianoforte basso 4

                     

 

       
Rullante

         

Cassa e Piatti     

           
 

Timpani               
 

©2014
 
                                         

  
    
    
C

  
11

Glk.

        
                       


   
Xil.

 
Xyl.    


 
                                       
    
   
              


                   
BX
            

 


                   
BM
              

             
    


        
Vln. I  

          

 


        
                   
  
  
Vln. II

                                  
             


     

Gtr. 1

          
                  


                   
Gtr. 2
 
    
              


                        
Gtr. 3
    

     


                   
                 
  
Bass

  
         


S. Rec.                
     
 

   
                 


A. Rec.                             

     
                  


T. Rec.                  
        

            
 


Bb Tpt.

            
  



A. Sx.


                                            

  
    


Clavic 1      
 

          
                  


                   
Clavic 2
 

   


            
Clavic3 3
                                 
   
                      


                 
Pf basso 4
 
 
                                  


 
            
Rull.

C.P                   

                  
              


Timp.



2 ©2014


                   
              
       
    
  
      
D

 
22

Glk.

   
                        
          
 

      
Xil.
 

 
Xyl.            
 

        
                                   

           

                         


BX 
           

  
 

        
BM
                       

                   
       
 

Vln. I             
  

  
 

    
                        
  
Vln. II

                                    
          
 

      
Gtr. 1   

           
                          
 

            
Gtr. 2
   

           
 
 

Gtr. 3                                   

    
 

                        
        
 
       

Bass

         
      


             

S. Rec.              
  

      
         
 

A. Rec.                                       

                
   
 

T. Rec. 
                        
  

            
 
 

Bb Tpt.

            
  
 

  
A. Sx.

  
                                             
 

Clavic 1       
  

           
                          
 

            
Clavic 2
   

    
  
 

                         
                 
Clavic3 3

       
                 
 

                    
  
Pf basso 4

  
                                            
 

 
                 
Rull.

    

C.P                 

    

                                   




Timp.

 

©2014 3
 
                    
     
E F


33

  
Glk.

  
                             
        
       

Xil.            
 

   
Xyl.       

             
                               
 
    
    

                                    
BX
     

        

  
BM
        

         
      

    
Vln. I

        

  
      
 
Vln. II

                                               

          
Gtr. 1   

                        
         

                
Gtr. 2
      

   
      

                              
Gtr. 3
        

 


             
                      
 
Bass

               

       
                        

S. Rec.              
 

             
          

A. Rec.                                

   
          

T. Rec.                                    
  

         
 

            
   
Bb Tpt.

    
                 
  

 
 

A. Sx.

                                   
        
       

Clavic 1           
  

                        
         

                
Clavic 2
      

    
     

                           
Clavic3 3 
             

                
            

          

Pf basso 4


                        

       
Rull.

        

C.P       

         

Timp.                   

4 ©2014
  
                                   

  
          
     
G

  
44


Glk.

               
                  
 
          
     


Xil.       

  
Xyl.  


   
                                    

    
     
                


              
            
BX

 


                   
BM
              

           
    


         
Vln. I  

            

 


        
                  
     

Vln. II

                                  
             


      

Gtr. 1

        
              


                       
Gtr. 2
  
      
                


Gtr. 3                       
 

     


                        
            
Bass

            


               
S. Rec.
 

    
                   


A. Rec.                         

       
                    


T. Rec. 
  
      
          
 
         
      


        
    

Bb Tpt.

    
                
        


 
 

A. Sx.

   
                                    

  
        


Clavic 1       

        
              


                       
Clavic 2
  
 
   


 
  
        
           

 
               
Clavic3 3

             
        


                  
Pf basso 4
 
 
                              


 
          
Rull.

C.P                  

           
               


Timp.



©2014 5
             
              
       
     
        
H I

 
55

  
Glk.

       
                      
               
 

Xil.        
 

 
Xyl.            
 

       
                                      

        
   

                           


BX 
        

   
 

        
BM
                    

                  
        
 

Vln. I           

   
 

    
                     
  
Vln. II

                             
             
 

       
Gtr. 1

           
                                
 

          
Gtr. 2
   

       
 
 

                                   
Gtr. 3

     
 

                       
        
 
       

Bass

     
          


             

S. Rec.                   
 

    
         
 

A. Rec.                                           

            
   
 

T. Rec.                             
  
  
      
 
 

                           
    
 
Bb Tpt.

     
                            
    
 

    
  
  
A. Sx.

 
                                            
 

Clavic 1        
 

           
                                
 

          
Clavic 2
   

    
  
 

                             
             
Clavic3 3

         
                    
 

               
  
Pf basso 4

 
                                           
 

 
                 
Rull.

    

C.P                 

    

                                   




Timp.

 

6 ©2014
 
                        
      
L

 
66

       
Glk.

                          
            
   


Xil.           
  

   
Xyl.     


          
                                 
 
   
             


                          
BX
       

        


BM
            

          
     


      
Vln. I

        


        
   
Vln. II

                                           
   


         
Gtr. 1   

                   
                


            
Gtr. 2
     

   
              


                          
Gtr. 3
     

 



   
                            
 
Bass

                    
                            


S. Rec.              
 

            
       


A. Rec.                                  

  
                   


T. Rec.                           
   

        
 


                
     
Bb Tpt.

    
                     
  


 
  

A. Sx.

                                  
            
   


Clavic 1          
   

                   
                


            
Clavic 2
     

   
           


               
Clavic3 3  
                  

    
                    


          

Pf basso 4


                             


         
Rull.

       


C.P         

        


Timp.                   




©2014 7

             
  
   

77

Glk.

       
          
Xil.   

  
  
Xyl.
            
 
BX
                 

  
BM
          

         
     
Vln. I 

  
       
  
Vln. II

        
         
Gtr. 1  

      
Gtr. 2     

     


Gtr. 3                    

   
Bass
           

   
S. Rec. 
     

   
      

   
A. Rec.               

      
T. Rec.
           

 
   
Bb Tpt.                  

    
         
    

  

A. Sx.

          
        
  
Clavic 1

      
Clavic 2     

     


Clavic3 3                    

           
  

Pf basso 4


                

        
Rull.

C.P          

      
Timp.              

8 ©2014
           B
Glockenspiel Prelude arr. Giulio Patara

       
              
      
Te Deum Marc Antoine Charpentier 1643-1707

  
(1691-1692)
A

 

  
 

                                        
    
9

      
    


 
                    
      
      
C

  
17

           

 
         
              
   
D E


25

                                   



      
F


40

    
                 


                      
    

G

 
48

                                      


 
     
H

 
56

                                 
 

  
     
I L

  
65



  
 
80

©2014
  
Xilofono Prelude arr. Giulio Patara

    
                                  
Marc Antoine Charpentier 1643-1707
Te Deum

      
A (1691-1692)
B

 

  
                                        
 

   
C


9

                                      



      
D


24

    
              
 


            
          
     
      
33
E

  

                                        
   
F


41

    
                  


                   
      

G

  
49

  


       
                          
   
H


57

        
          



      
          
   
         
65
I

 
                                  


   
   
L

 
73

©2014
Xylophone Prelude arr. Giulio Patara

 
Te Deum

 
Marc Antoine Charpentier 1643-1707

   
(1691-1692)

  
A

                          
 



  
   
B

                          
8



    
         
                    
C


15



      
     
D

                        
24

      
   
                      
E

         
31



 
                      
      
F


39

 
               
G

 
                   
46



          
   
              
H


55

    
   
                         
62
I



©2014
                 
  
L

             
69

  

   
                    
76

2 ©2014
Bass Xylophone Prelude
arr. Giulio Patara


Te Deum

 
Marc Antoine Charpentier 1643-1707

                                         
(1691-1692)
A B

 

 
                                       
9



                 
          
        
C D


17

  
        
             
    
E


26



  
                
                  
34
F

  
                        
          
G


42



                            
             
H

  
51

 

                               
I

 
59



©2014
      
 
                                 
68
L



  
  
  
             
76

2 ©2014
Bass Metallophone Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

 
                                     
Marc Antoine Charpentier 1643-1707

A B

 

   
                  
C

        
12



 
             

D E

             
23

  

           
     
  
F G

            
41




                                       
53
H

 

 
           
I L

            
65



©2014
Violin I Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

   
           
               

Marc Antoine Charpentier 1643-1707

         
A B


 

         
                             
C

 
12



                         
        
 
D E

 
23

 

                    
                 
F G

 
40

 

       

                             

H

 
51

                         
       
  
I L


62

 

    
   
79

©2014
Violin II Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

 
           
Marc Antoine Charpentier 1643-1707

 
A B

                 
 

 
              
C

             
11



  
     
     
D

                
   
22




 
         
E F G

              
   
33




 
            
        
H

       
50


 

 
        
I L

                  
   
61





 
   
79

©2014
Guitar 1 Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

     
        
             
   
      
Marc Antoine Charpentier 1643-1707

  
A B

 
 

                                        
    
9



                                         
     

C

  
17

                                       
   
D


25



                                        
           
33
E

                                        
   
F


41



                                         
      
G

 
49

                                       
   
H


57



©2014
                                          
          
65
I



                                       
   
L


73

2 ©2014
Guitar 2 Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

                    
        
Marc Antoine Charpentier 1643-1707

             
A B

 
 

                        
                  
C

  
10



            
                          
D

  
19

                
                          
E

    
28



      
                                  
F

  
37

        
                            
G

  
45



 
                                       
H

  
55

     
                                          
I

   
63



©2014
                   
       
      
   
L


72



 
 
80

2 ©2014
Guitar 3 Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

  
Marc Antoine Charpentier 1643-1707

                                       
A B

 

 
                                    
9
C



                    
  
            
      
D


18

 
    
                       
 
E

 
27



    
                             

  
F

 
36


              
                     
G


45



            
                     
54
H

  
             
          
          
63
I



©2014
  
                               
71
L



 
 
80

2 ©2014
Bass Guitar Prelude arr. Giulio Patara

 
Te Deum

   
Marc Antoine Charpentier 1643-1707

       
(1691-1692)

                       
A B

 

     
         
              
C

 
     
10

 
  
     
D

             
19

   

            
         
E

          
27

  

  
                  
F

           
37

 

    
                 
G

        
46

  

  
        
        
H

      
  
55

 

 
                         
I L

      
63



    
       
                  
74

©2014
 
Soprano Recorder Prelude arr. Giulio Patara

      
                                       
Marc Antoine Charpentier 1643-1707
Te Deum
A (1691-1692) B

  
 


            
                  
9
C

       


     
                             
24
D

            

   
  
         
          
    
32
E




               
              
         
 
F

 
40

  

               
                 
G H

 
48

      
 

            
                           
63
I

         


        
  
                 
    
71
L




 
      
 
79

©2014
Alto Recorder Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

       
Marc Antoine Charpentier 1643-1707

             
                    
A B

 

     
            
                        
9
C



                  
              
      
D
18

     
                   
              
27
E



              
                
        
35
F

      
           
                   
43
G



              
                     
H
52

      
 
                        
    

60
I



©2014
            
         
  
                
68
L



   
          
    
   
 
76

2 ©2014
Tenor Recorder Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

       
Marc Antoine Charpentier 1643-1707

             
        
A B

  
 

      
            
             

C

 
9



                 
 
                
      
D


18


               
                     
E

 
27



         
                             

F

 
36

     

                       
  
G

 
44



                 

                   
53
H

                   
              
62
I



©2014
     
                                     
L


70



      
       
78

2 ©2014
Trumpet in Bb Prelude
Te Deum
(1691-1692)

     
arr. Giulio Patara

      
Marc Antoine Charpentier 1643-1707

          
A B C D E F

 

     

  
  
                              
   
G H


43

 

   
   
      
                 
 
I

 
58

 

  
  
                            
L

        
73

©2014
Alto Sax Prelude
Te Deum
(1691-1692)

          
arr. Giulio Patara

     
Marc Antoine Charpentier 1643-1707

       
A B C D E F

 
     

               
                 
       
G H

 
43

 


                   
 
              
  
I

   
58

 

                  
   
      

            
L

  
73

©2014
Clavicembalo 1 Prelude
Te Deum
(1691-1692)

           B
arr. Giulio Patara

       
              
      
Marc Antoine Charpentier 1643-1707

  
A

 

 
 


                                        
    

9

  


              
                          
     

C

  
17

 

                                       
   
D


25

       



       
                     
   
         
33
E

 

                                        
   
F


41

 
                 


    
                   
      
G

  
49

 

                                       
   
H


57



©2014
   
                                          
          
65
I



  
                                       
   
L

 
73

2 ©2014
Clavicembalo 2 Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

                    
        
Marc Antoine Charpentier 1643-1707

             
A B

 
 

                        
                  
C

  
10



            
                          
D

  
19

                
                          
E

    
28



      
                                  
F

  
37

        
                            
G

  
45



 
                                       
H

  
55

     
                                          
I

   
63



©2014
                   
       
      
   
L


72



 
 
80

2 ©2014
Clavicembalo 3 Prelude
Te Deum
(1691-1692)
arr. Giulio Patara

  
Marc Antoine Charpentier 1643-1707

                          


A B

 
 

 
                                       
9



    
    
                          
17
C

 
                                       
25
D



   
   
                    
            
33
E

 

                               
41
F



    
    
                 
G

        
49

 

                               
57
H



©2014
            

 
     
                   
65
I



 

                         
73
L

2 ©2014
Pianoforte basso 4 Prelude arr. Giulio Patara

                
Te Deum

          
Marc Antoine Charpentier 1643-1707

     
(1691-1692)

 
A B

    
 

             
         
         
10
C



        
  
             
    
D


19

 E   

                             
  

28



   
   
                     
 
F


39

 
 

                
 
  
   
G H

 
49

I   

                         
     
58



             
           
   
 
68
L



    
      

78

©2014
Rullante Prelude
Te Deum
(1691-1692)

  
arr. Giulio Patara


                               
Marc Antoine Charpentier 1643-1707


A B

  
                          
D
16 C

 

   
                             
F

 
31 E

 
           
               
 
46 G H

 
               
             
L

 
61 I




                      

76

©2014
Cassa e Piatti Prelude
Te Deum
(1691-1692)

                C 
arr. Giulio Patara

  A   

Marc Antoine Charpentier 1643-1707

              
B

  

                    


                
   
25
D E F

                    


            
       
43 G H

                    


        
           
61 I L



   


  
 
79

©2014
Timpani Prelude
Te Deum
(1691-1692)


arr. Giulio Patara

    
Marc Antoine Charpentier 1643-1707

                               
A B

 

 
     
                             
15
C D

 

 
 
                                 
30
E F

 

 
      
                    
45
G H

 

 
        
                          
59
I L

 

 
                                  
74

©2014

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