Partitions Numériques de 10 pour Tuba

10

Six Etudes for Tuba #Tuba #AVANCÉ #Robert Marsteller #Six Etudes for Tuba #Gordon Cherry #SheetMusicPlus

Tuba Solo - Level 5 - SKU: A0.792697 Composed by Robert Marsteller. 20th Century,Instructional. Individual part. 10 pages. Gordon Cherry #5785165. Publi...(+)

Tuba Solo - Level 5 - SKU: A0.792697 Composed by Robert Marsteller. 20th Century,Instructional. Individual part. 10 pages. Gordon Cherry #5785165. Published by Gordon Cherry (A0.792697). Robert Marsteller had an illustrious career as a performing artist and a pedagogue, influencing many hundreds of musicians in a major way. His Six Etudes for Tuba (adapted from the tenor trombone version by Gordon Cherry) most likely were written while studying at the Eastman School of Music in the late 1930's, as they are dedicated to his teacher Emory Remington. The etudes are challenging technically, in many keys, written in a wide range and are very satisfying musically to perform. If practiced correctly, these Ã©tudes will surely be of great value to aspiring performers. These etudes are in the F tuba range, but may be performed on the C tuba by using F tuba fingerings Foreword by tuba legend Roger Bobo, former student of Robert Marsteller. This music is also available on iTunes and Kindle as an eBook.

Tuba Solo - Level 5 - SKU: A0.991806 Composed by Jason Allie. Romantic Period,World. Individual part. 14 pages. Joaba LLC #3129601. Published by Joaba LLC (A0.991806). Description Total Duration: 11 minutes. A vigorous, advanced level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. In an enjoyable and delightful manner, tubists will build dexterity, endurance, expressiveness, effective volume and range (going up to D/C# above the staff). This work will charm, captivate, and rouse/impress audiences. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba in whole or in part. Please send feedback, praises and more to contact@joaba.com. Performance Notes from the Composer Ã‰desen Ã‰desen translates to sweetly in Hungarian, and is this movementâ€™s purpose: to be a centering, calming moment before the following tumult.The first 10 bars serve as an introduction to warm up to the melody. The melody has three contrasting articulations that must be respected: staccato, legato, and normal. The melody easily leads to high and low range notes-excellent for beginner/intermediate tubists to expand and solidify their range. Give more air for the rangeâ€™s extremities so pitches donâ€™t become too thin or muddled. The second theme in the dominant (E major) should be played with luscious legato and bright staccato. LassanLassan translates to slowly in Hungarian usually conveying stateliness or seriousness. This argumentative movement breaks the formerâ€™s idyll and sets the case for the next movementâ€™s defiance and victory.The first section is to be played serious and strong. Increase air support for the higher pitches. Make the descending scales resound and bounce off the lowest notes. The second theme starting at 81 should be played with great charm and ease. For the solo passages, show-off but slow the tempo into the fermatas: (m77-80, m102-103, and m132-133). Friska Friska translates to fresh in Hungarian and in this case, itâ€™s a duality of turbulence and final elation.Start the piece fast, but not too boisterous-embellishments are added in the repeat demanding boisterousness. Epitomizing the turbulence, the con moto sections (at m161 & m260) emphasize a 1 beat per measure feel-accelerate the tempo as is comfortable. The digressionary, crab-like sections (at m176 & m275) should be played as light as possible to help build up to the elated sections. The first elated section (m188) should be played as if gleefully discovered but not yet won; the second elated section (m291), with a victorious finality that cannot be diminished or tarnished.