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Chorale SATB
134
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20
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18
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17
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10
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7
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75
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55
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50
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37
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31
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31
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28
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26
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17
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13
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
111
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75
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70
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60
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Trombone
29
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23
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18
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13
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13
Quatuor de cuivres: 4 cors
11
2 Trombones (duo)
9
2 Trompettes (duo)
9
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7
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7
Tuba et Piano
6
Tuba
6
2 Cors (duo)
5
2 Euphoniums et 2 Tubas
5
3 Cors (trio)
4
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3 Trombones (trio)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
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2
Cor
2
Quatuor de cuivres: 4 trompettes
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2
Euphonium
2
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1
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Cor (partie séparée)
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2 Euphoniums (duo)
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4 Tubas
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
283
Violon et Piano
100
Violon, Violoncelle (duo)
100
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66
Alto, Piano
66
Violoncelle
61
Harpe
58
Violon
55
Trio à Cordes: violon, alto, violoncelle
51
2 Violoncelles (duo)
40
Trio à Cordes: 2 violons, violoncelle
28
2 Violons (duo)
25
Violon, Alto (duo)
21
2 Harpes (duo)
14
Alto seul
12
2 Altos (duo)
10
Ensemble de Violons
8
Ensemble d'Altos
7
4 Violoncelles
7
Alto (partie séparée)
7
Trio à cordes: 3 violins
6
Trio à Cordes: 3 violoncelles
6
Contre Basse
5
Violon, Guitare (duo)
5
Contrebasse, Piano (duo)
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Harpe, Voix
4
Violon (partie séparée)
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Trio à cordes: 3 altos
3
Alto, Violoncelle (duo)
3
Violoncelle, Contrebasse (duo)
2
Alto, Guitare (duo)
2
Quatuor à cordes: 4 violons
2
Harpe, Flûte (duo)
2
Violon, Tuba (duo)
1
2 Contrebasses (duo)
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Violoncelle , Guitare (duo)
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Quatuor à cordes : 4 altos
1
2 Altos, Piano
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Ensemble de Violoncelles
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
136
Orchestre à Cordes
119
Ensemble Jazz
87
Orchestre
72
Ensemble de cuivres
69
Orchestre de chambre
52
Fanfare
21
Jazz combo
16
Batterie
14
Ensemble de Percussions
14
Cloches
12
2 Xylophones
4
Vibraphone
4
Marimba
3
Xylophone, Piano
1
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Ping-Pong for Tuba Solo
Tuba
Tuba Solo - Level 4 - Digital Download SKU: A0.876676 Composed by Dosia McKay. Cont…
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Tuba Solo - Level 4 - Digital Download SKU: A0.876676 Composed by Dosia McKay. Contemporary. Individual part. 5 pages. Gavia Music #6325317. Published by Gavia Music (A0.876676). When I originally spoke with Sande MacMorran, the tuba player for whom I composed the piece, we discussed the technicalities of the instrument; its optimal range, timbre, and articulation. Sande mentioned, in passing, that the rhythm of swing music is a natural fit for the instrument and even sang a few lines to give examples.In the following days, when I began to plan the new composition, I was surprised that the idea of playing ping-pong unexpectedly took hold of my mind and I couldn’t shake it off. At first, it seemed random and unrelated, but then, as I thought about the rhythmic patterns of the game, it all became clear.In ping-pong, the paddle hits the ball and then the ball hits the table in a pattern reminiscent of the rhythm of swing. While beginners tend to play slower, in triplets, the professionals, much faster, with the table note dotted or even double-dotted. Once I realized what my subconscious was trying to tell me, I listened to (not merely watched) several videos of ping-pong matches and discovered a wealth of entertaining rhythmic patterns. Thus the idea for this miniature tuba piece was born.While the tuba may seem a clumsy and awkward instrument, it is actually quite agile and flexible. It can perform many challenging melodic figures or quick jumps between registers, and it can certainly play ping-pong.Total duration: 1’25, suitable for advanced players.
$20.00
18.29 €
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Tuba
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Dosia McKay
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Ping-Pong for Tuba Solo
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Gavia Music
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SheetMusicPlus
Unaccompanied Tuba Suite #2 in B-flat Major
Tuba
Tuba Solo - Level 4 - Digital Download SKU: A0.991804 Composed by Jason Allie. 20th…
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Tuba Solo - Level 4 - Digital Download SKU: A0.991804 Composed by Jason Allie. 20th Century,Contemporary,Romantic Period,World. Individual part. 14 pages. Joaba LLC #3109635. Published by Joaba LLC (A0.991804). DescriptionA delightful, intermediate-advanced level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This multifarious work grips the audience with a variety of moods, styles and affects. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com. Total Duration: ~10 to 15 minutes depending upon taking the repeats and varying the tempo.Performance Notes Introduction This piece boldly explores the B♠Major key and related tonalities. It yields exciting moves to tease the audience’s appetite for the real treats of the variations. The key to performing this piece is to feel and emphasize the half-note rhythm and play the phrases against it. Dynamics are up to the performer. Theme & Variations The delight for the performer and listener is to emphasize the unique traits of each variation while celebrating their similarities. A great audience toe-tapper (mostly!). Each variation’s title indicates how to play it; further notes below. 1 PLAYFUL Stretches the theme’s rhythms for a friendly teasing. 2 MAJESTIC This variation indulges in the compound meter exploration of the theme. Emphasize the linear lines and the ornamental notes will shine. 3 BRIGHT Practice the intervallic phrasing until you can hear what note follows which. Then bang it around for a jaunty, vigorous performance. 4 AGILE Practice slow then add speed. The luscious 16th notes energize the phrases and give them wit. 5 TEARFUL Let the notes do the work-don’t try too hard. 6 FESTIVE Must use repeats. A gigue that washes away the previous variation’s mood. Always emphasize the one-two bounce feel throughout. 7 TREMENDOUS Molto expressivo. This A section is anguish; B is reflective, loving, and then tender. 8 CHICKEN Chicken chickens chicken. Chicken! 9 FANTASTICAL No repeats: just a glorious monstrosity of extraordinariness. Get ugly. 10 MARCH Must use repeats. If you clip the dotted notes and focus on the one-two, one-two march rhythm, the melody will soar. 11 BLUES Be sure to swing it and adjust the tempo so the bluesy sound comes through. 12 A CARNIVAL NEAR VENICE Akin to variation 2. Practice it slow and build up speed. Nothing more than the theme with a compound voice in the upper register. 13 FUGUE Distinguish the two lines and it’ll be like playing two tubas simultaneously. Practice slow to learn to differentiate the two voices and it’ll be a dazzler. 14 FAREWELL A bittersweet mixture of bold thankfulness for the joyous discoveries and sadness for having to say goodbye. Be aggressive with the arpeggios for the harmony to resound.
$15.99
14.63 €
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Tuba
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Jason Allie
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Unaccompanied Tuba Suite #2 in B-flat Major
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Joaba LLC
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SheetMusicPlus
Triptych
Tuba
Tuba Solo - Level 4 - Digital Download SKU: A0.1013956 Composed by Jeff Henderson. …
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Tuba Solo - Level 4 - Digital Download SKU: A0.1013956 Composed by Jeff Henderson. 20th Century,Concert,Contemporary. Individual part. 4 pages. Jeff #6776939. Published by Jeff (A0.1013956). Triptych for unaccompanied tuba is a three movement work with varying styles and techniques. The piece was composed in 2021 by Jeff Henderson to be performed by Justin Ohman.
$20.00
18.29 €
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Tuba
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Jeff Henderson
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Triptych
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Jeff
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SheetMusicPlus
The Classical Tuba
Tuba
Tuba Solo - Level 4 - Digital Download SKU: A0.1498607 Composed by Mozart and Haydn…
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Tuba Solo - Level 4 - Digital Download SKU: A0.1498607 Composed by Mozart and Haydn. Arranged by Rudy Volkmann. Classical,Historic,Instructional. Individual part. 24 pages. Rudy Volkmann #1074905. Published by Rudy Volkmann (A0.1498607). For several generations now, we tuba players have been playing Mozart horn concertos as part of our practice routine. This has usually meant spending several hours transcribing the parts. This is simply a short-cut, with all the Mozart horn concertos (and the Haydn Trumpet concerto thrown in as an extra) nicely transcribed for tuba all in one bundle.
$10.00
9.15 €
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Tuba
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Mozart and Haydn
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Rudy Volkmann
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The Classical Tuba
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Rudy Volkmann
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SheetMusicPlus
Flex on the Move-Tuba Edition
Tuba
Tuba - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etud…
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Tuba - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Technique Training. 42 pages. Published by Faded Duck Music
Flex on the Move is a fun and creative approach to developing flexibility on all brass instruments. Available for trumpet, trombone and tuba. 42 pages and a lifetime of material!<br> Flex on the Move<br> There are many great books on flexibility (or “lip flexibility” as it is commonly called) available to today’s brass players. The commonly used books include Irons 27 Groups, Smith Lip Flexibilities and Colin Advanced Lip Flexibilities. Flexibility studies do go all the way back to Arban and St, Jacome, but became a staple of brass pedagogy in the early 20th Century through teachers and authors like Del Staigers, Herbert L. Clarke, Earl D. Irons and Walter M. Smith.<br> <br> There are different categories of flexibility exercises. There is “Long Flexibility” like those found in Colin’s Vol. I of Advanced Lip Flexibilities. With Long Flexibility you stay on one fingering and play a long line that takes you through a large range. Then, there is “Short Flexibility” similar to what is found in Irons and Smith where you play a repeated pattern on one fingering. Most flexibility falls into the Short Flexibility category. With this book, I would like to add “Moving Flexibility” to the list. With Moving Flexibility you play a short pattern that takes you up and down through all the fingerings, covering a large range on your instrument. The idea of Moving Flexibility was first introduced in Arban p. 45 #16 and later in Charles Colin, 100 Original Warm-Ups.<br> <br> Why Practice Flexibility?<br> Chances are, you’re not going to stand in front of an audience and perform flexibility studies. Flexibility studies are a means to an end, not the end. Most trumpet players practice some form of flexibility every day as it improves overall technique and gets you ready to play music. In our lessons, Claude Gordon would tell me how a particular exercise or routine he was writing would “get me feelin’ good.” So, that is my goal with these studies, to get you “feelin’ good”.<br> <br> Technique<br> There are many beliefs among players as to what makes a brass instrument “work”. Some believe it’s the lip, some believe it’s the tongue, some believe it’s the air, or some (like me) believe it’s a balance or coordination of all three. I don’t think that your chosen methodology will matter when practicing these exercises. If you practice them religiously and correctly, you’re playing will certainly improve.Flex on the Move is a fun and creative approach to developing flexibility on all brass instruments. Available for trumpet, trombone and tuba. 42 pages and a lifetime of material!<br> Flex on the Move<br> There are many great books on flexibility (or “lip flexibility” as it is commonly called) available to today’s brass players. The commonly used books include Irons 27 Groups, Smith Lip Flexibilities and Colin Advanced Lip Flexibilities. Flexibility studies do go all the way back to Arban and St, Jacome, but became a staple of brass pedagogy in the early 20th Century through teachers and authors like Del Staigers, Herbert L. Clarke, Earl D. Irons and Walter M. Smith.<br> <br> There are different categories of flexibility exercises. There is “Long Flexibility” like those found in Colin’s Vol. I of Advanced Lip Flexibilities. With Long Flexibility you stay on one fingering and play a long line that takes you through a large range. Then, there is “Short Flexibility” similar to what is found in Irons and Smith where you play a repeated pattern on one fingering. Most flexibility falls into the Short Flexibility category. With this book, I would like to add “Moving Flexibility” to the list. With Moving Flexibility you play a short pattern that takes you up and down through all the fingerings, covering a large range on your instrument. The idea of Moving Flexibility was first introduced in Arban p. 45 #16 and later in Charles Colin, 100 Original Warm-Ups.<br> <br> Why Practice Flexibility?<br> Chances are, you’re not going to stand in front of an audience and perform flexibility studies. Flexibility studies are a means to an end, not the end. Most trumpet players practice some form of flexibility every day as it improves overall technique and gets you ready to play music. In our lessons, Claude Gordon would tell me how a particular exercise or routine he was writing would “get me feelin’ good.” So, that is my goal with these studies, to get you “feelin’ good”.<br> <br> Technique<br> There are many beliefs among players as to what makes a brass instrument “work”. Some believe it’s the lip, some believe it’s the tongue, some believe it’s the air, or some (like me) believe it’s a balance or coordination of all three. I don’t think that your chosen methodology will matter when practicing these exercises. If you practice them religiously and correctly, you’re playing will certainly improve.
$16.95
15.5 €
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Tuba
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Eric Bolvin
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Flex on the Move-Tuba Edition
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Faded Duck Music
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SheetMusicPlus
The Progressive Warm Up-Tuba Edition
Tuba
Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. …
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Tuba, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. 42 pages. Published by Faded Duck Music
A creative and thorough way to warm-up and keep your chops in shape in less than 30 minutes daily!<br> <br> Description<br> The Warm Up is an integral component of every brass player’s daily practice. Brass teachers have always been at odds as to what a good warm-up should consist of. My teacher Claude Gordon believed that there should be no prescribed warm-up, as the first notes of the day would fill that need. Others believe in a set warm-up that is done the same every day and never changes. And then there are those teachers who believe a warm-up should cover every aspect of playing, sometimes lasting two hours or more. I end up in the middle of all this with The Progressive Warm-Up.A creative and thorough way to warm-up and keep your chops in shape in less than 30 minutes daily!<br> <br> Description<br> The Warm Up is an integral component of every brass player’s daily practice. Brass teachers have always been at odds as to what a good warm-up should consist of. My teacher Claude Gordon believed that there should be no prescribed warm-up, as the first notes of the day would fill that need. Others believe in a set warm-up that is done the same every day and never changes. And then there are those teachers who believe a warm-up should cover every aspect of playing, sometimes lasting two hours or more. I end up in the middle of all this with The Progressive Warm-Up.
$16.95
15.5 €
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Tuba
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Eric Bolvin
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The Progressive Warm Up-Tuba Edition
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SheetMusicPlus
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