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--INSTRUMENTS--
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Gai Sever
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41
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4
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2
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1
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1
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1
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6
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4
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3
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1
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1
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11
Harpe
7
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6
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5
2 Harpes (duo)
4
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3
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3
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3
Violoncelle, Piano
3
2 Violoncelles (duo)
1
Alto seul
1
Harpe, Violoncelle (duo)
1
Contrebasse, Piano (duo)
1
Violon, Alto (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
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1
Violoncelle, Orgue
1
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14
Orchestre d'harmonie
13
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9
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5
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3
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2
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1
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
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TROMPETTE
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Crtitères actifs :
Gai Sever
Tuba
Partitions à imprimer
4 partitions trouvées
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1
No Justice Today
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Tuba
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Amy Dunker
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4:00
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No Justice Today
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Amy Dunker
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SheetMusicPlus
Tuba Solo - SKU: A0.969888 Composed by Amy Dunker. 20th Century,Concert,Contemporary. Individual part. 4 pages. Amy Dunker #6385141. Published by Amy Du...
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Tuba Solo - SKU: A0.969888 Composed by Amy Dunker. 20th Century,Concert,Contemporary. Individual part. 4 pages. Amy Dunker #6385141. Published by Amy Dunker (A0.969888). Emmett Till (July 25, 1941 – August 28, 1955) was a 14-year-old African American who was lynched in Mississippi in 1955, after being accused of offending a white woman in her family's grocery store. Several nights after the incident in the store, Bryant's husband Roy and his half-brother J.W. Milam were armed when they went to Till's great-uncle's house and abducted the boy. They took him away and beat and mutilated him before shooting him in the head and sinking his body in the Tallahatchie River. In September 1955, an all-white jury found Roy Bryant and J. W. Milam not guilty of Till's kidnapping and murder. Protected against double jeopardy, the two men publicly admitted in a 1956 interview with Look magazine that they had killed Till. The brutality of his murder and the fact that his killers were acquitted drew attention to the long history of violence against African Americans in the United States. Duration: 4:00
$8.00
Daily Warm-Up and Maintenance for Brass Instruments- Tuba in Bass Clef
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Tuba
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INTERMÉDIAIRE
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Methodes
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Bud Caputo
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Daily Warm-Up and Maintenance
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Bud Caputo
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SheetMusicPlus
Tuba Solo - Level 3 - SKU: A0.1162303 Composed by Bud Caputo. Instructional. Individual part. 18 pages. Bud Caputo #762660. Published by Bud Caputo (A0....
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Tuba Solo - Level 3 - SKU: A0.1162303 Composed by Bud Caputo. Instructional. Individual part. 18 pages. Bud Caputo #762660. Published by Bud Caputo (A0.1162303). This publication is a collection of Warmup and Daily Maintenance Exercises for typical classroom brass instrument instruction. However, it also meets the needs of students individual for home practice and private lessons. It serves the needs of both the beginner and professional brass player with several categories of exercises that are arranged from the most simple to the most challenging. Please read the preface that is included in the publication so that students of different levels will gain the greatest benefits from its organization.
$12.00
Unaccompanied Tuba Suite #1 in B-flat Major
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Tuba
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INTERMÉDIAIRE
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Jason Allie
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Unaccompanied Tuba Suite #1 in
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Joaba LLC
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SheetMusicPlus
Tuba Solo - Level 3 - SKU: A0.991803 Composed by Jason Allie. Baroque,Classical,Contemporary,World. Individual part. 9 pages. Joaba LLC #3109629. Publis...
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Tuba Solo - Level 3 - SKU: A0.991803 Composed by Jason Allie. Baroque,Classical,Contemporary,World. Individual part. 9 pages. Joaba LLC #3109629. Published by Joaba LLC (A0.991803). DescriptionA delightful, intermediate level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This lively work engages the audience with a breadth of moods from enlightening to reflective to celebratory. 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: ~8 minutesPerformance Notes Prelude The real art of performing this piece is to master its dynamics. With the long pianissimo to forte crescendo at the introduction, the contrasting forte/mezzo piano sections and brisk, shorter crescendos for the cadences, the tubist must be aware of dynamics at all time and use them wisely.The second aspect to performing this piece is to contrast the 2 eighth note plus quarter note slurs motif against the arpeggiations. The introduction starts with the slurs and evolves into the arpeggiations by the first forte and the remaining piece explores the contrast between the two. Performers should feel free to try different dynamics, try different tempos (like zipping through the arpeggiations and slowing for the motif), etc. The goal is to bring the listener through the pleasantries of introductions to feel fresh and eager for further discourse ahead. March The rewarding challenge in this piece is to bring out the difference between cheery and con brio. The former being achieved by emphasizing the swaggering, strutting feel of the one-measure-per-beat feel and the latter by emphasizing the intervallic bounciness with the one-two march feel.Note that the motif (with the quarter note morphing into an eighth note) along with simpler arpeggiations are brought to play in a new manner reinforcing the positive mood from the prelude.The goal is to befriend the listener with an engaging, buoyant time. Air The tubist will exercise great breath control and phrasing to achieve a sublime solemnness counterbalancing the prior two movements.The motif now takes center stage headlining the main melodic phrases; however, here it is disjointed and conveys the sighing for the solemnness.After the pleasantness of the march, affableness having garnered friendship, we now open ourselves to share some somber matters and offer consolation. The intended goal here is to add depth to the relationship by addressing darker aspects in the discourse. Slip-jig Rondo Harking back to the compound meter of the prelude, this dance adventurously wakens the listener from the solemnness of the air asserting a new grandness and gladness. This is a slip-jig put into the rondo form so celebrate the main dance theme when it comes around and put fire and character into the transitions to make it worthwhile.The motif now jumps into the compound meter’s beat and morphs into three slurred, conjoint eighth notes. Now this motif enables several affects: exciting dance steps, transitions/modulations and concluding the phrases and the piece itself.The performer should aim to lead and amaze the listener with the waltz-like slip-jig rhythm and astound with the virtuosic transitions as a final send-off.
$9.99
Donut Etudes vol. 3: Don’t Step in the Holes! – Tuba Quartet (4 Bass Tubas)
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Tuba
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INTERMÉDIAIRE
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Methodes
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Joshua Hauser
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Donut Etudes vol. 3: Don&rsquo
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Slide Ride
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SheetMusicPlus
Tuba Solo - Level 3 - SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (...
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Tuba Solo - Level 3 - SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (A0.784337). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Don’t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as you’d like.· Choose a tempo.· Choose a dynamic.· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!
$5.00
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Gai Sever