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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
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Goal!
Non classifié
168
Piano & claviers
Piano seul
126
Piano Facile
82
Piano, Voix et Guitare
25
Piano, Voix
18
Orgue
7
1 Piano, 4 mains
5
Instruments en Do
4
2 Pianos, 4 mains
2
+ 3 instrumentations
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Guitares
Guitare
21
Guitare notes et tablatures
9
Basse electrique
3
Banjo
1
Mandoline
1
Dulcimer
1
2 Guitares (duo)
1
+ 2 instrumentations
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Voix
Chorale SATB
42
Chorale 3 parties
10
Chorale Unison
6
Chorale TTBB
5
Chorale 2 parties
5
Voix seule
3
Chorale SSATTB
2
Voix duo, Piano
2
Chorale SSAA
2
+ 4 instrumentations
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Vents
Flûte traversière
26
2 Flûtes traversières (duo)
10
Flûte traversière et Piano
6
Clarinette et Piano
6
Clarinette
4
Flûte, Hautbois, Clarinette, Basson
3
Saxophone Alto et Piano
2
Quintette de Clarinettes: 5 clarinettes
1
Flûte à bec Soprano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte à Bec
1
Flûte, Hautbois, Piano (trio)
1
Flûte, Hautbois, Basson
1
Saxophone et Orgue
1
Flûte et Guitare
1
Flûte à bec Alto
1
Flûte, Hautbois (duo)
1
Flûte, Clarinette et Basson
1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
1
Saxophone Tenor et Piano
1
Hautbois, Harpe
1
+ 16 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
18
Trompette, Trombone (duo)
6
Quatuor de cuivres: 4 cors
4
3 Trombones (trio)
3
Trompette
3
Trompette, Piano
2
Trio de Cuivres
2
Tuba
2
Cor et Piano
1
Quatuor de cuivres: 4 trombones
1
2 Trompettes (duo)
1
Quatuor de Cuivres
1
Trombone et Piano
1
Euphonium, Piano (duo)
1
Trombone basse et Piano
1
Trombone
1
Trompette, Harpe
1
+ 12 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
257
Violon, Violoncelle (duo)
151
Trio à Cordes: violon, alto, violoncelle
126
Violon
119
Quintette à cordes: 2 violons, alto, violoncelle, basse
21
Harpe
8
Violon, Alto (duo)
7
Trio à Cordes: 2 violons, violoncelle
6
2 Harpes (duo)
5
Alto seul
5
Violoncelle
5
2 Violoncelles (duo)
5
Violon et Piano
4
Violoncelle, Piano
4
Alto, Piano
3
Contre Basse
2
4 Violoncelles
2
Alto (partie séparée)
1
Violon, Guitare (duo)
1
Trio à Cordes: 3 violoncelles
1
Harpe, Violon (duo)
1
Trio à Cordes: 2 violons, alto
1
Quintette à cordes: 2 violons, 2 altos, violoncelle
1
Violon (partie séparée)
1
2 Altos (duo)
1
+ 20 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
99
Orchestre d'harmonie
69
Orchestre
7
Jazz combo
6
Orchestre de chambre
4
Ensemble de cuivres
3
Batterie
3
Ensemble Jazz
2
Vibraphone
1
Ensemble de Percussions
1
Cloches
1
Marimba
1
Fanfare
1
Piano et Orchestre
1
+ 9 instrumentations
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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
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SAXOPHONE
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Unaccompanied Tuba Suite #1 in B-flat Major
Tuba
Tuba Solo - Level 3 - Digital Download SKU: A0.991803 Composed by Jason Allie. Baro…
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Tuba Solo - Level 3 - Digital Download 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
9.21 €
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Tuba
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Jason Allie
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Unaccompanied Tuba Suite #1 in B-flat Major
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Joaba LLC
#
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
15.63 €
#
Tuba
#
Eric Bolvin
#
Flex on the Move-Tuba Edition
#
Faded Duck Music
#
SheetMusicPlus
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