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TRI ET FILTRES
Tri et filtres :
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Ukulele
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VOIX
Chorale SATB
121
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16
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14
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VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
45
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
90
Trompette
42
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41
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33
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21
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20
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15
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13
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9
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8
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Cor
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7
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Tuba
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Quatuor de cuivres: 4 cors
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Cor (partie séparée)
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4 Tubas
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2
Quatuor de cuivres: 4 trompettes
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Trombone, Cor (duo)
2
Quatuor de Cuivres
1
2 Euphoniums et 2 Tubas
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Cor et Orgue
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Tuba (partie séparée)
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Bass Clef Instruments
1
Cor Anglais
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Trompette, Violoncelle (duo)
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Trombone et orchestre
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
176
Violon et Piano
61
Violon, Violoncelle (duo)
58
Violon
56
Harpe
47
Violoncelle
46
Trio à Cordes: 2 violons, violoncelle
32
Violoncelle, Piano
30
Trio à Cordes: violon, alto, violoncelle
23
Alto, Piano
20
2 Violoncelles (duo)
19
Alto seul
18
2 Violons (duo)
13
Violon, Alto (duo)
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Harpe, Voix
5
2 Harpes (duo)
5
Alto (partie séparée)
5
Harpe, Flûte (duo)
4
Violon (partie séparée)
4
Ensemble d'Altos
4
Piano Trio: Violon, Alto, Piano
3
Alto, Violoncelle (duo)
3
Quatuor à cordes: 4 violons
3
Ensemble de Violons
3
2 Altos (duo)
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Contrebasse, Piano (duo)
2
Contre Basse
2
Ensemble de Violoncelles
1
Contrebasse (partie séparée)
1
Harpe, Violon (duo)
1
2 Contrebasses (duo)
1
Violon, Basson (duo)
1
Trio à cordes: 3 altos
1
Alto et Basson
1
Violon, Clarinette, Piano (trio)
1
4 Violoncelles
1
Violon, Basse continue
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
72
Orchestre d'harmonie
59
Orchestre
52
Ensemble de cuivres
40
Ensemble Jazz
14
Cloches
14
Orchestre de chambre
12
Jazz combo
11
Batterie
6
Ensemble de Percussions
5
Marimba
5
Fanfare
2
Percussion (partie séparée)
2
Orchestre, Violon
1
Vibraphone
1
Big band
1
Percussion
1
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AUTRES
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In the End [advanced]
Tuba
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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
14.62 €
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Tuba
#
Jason Allie
#
Unaccompanied Tuba Suite #2 in B-flat Major
#
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
15.5 €
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Tuba
#
Eric Bolvin
#
Flex on the Move-Tuba Edition
#
Faded Duck Music
#
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
#
Eric Bolvin
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The Progressive Warm Up-Tuba Edition
#
SheetMusicPlus
Unaccompanied Tuba Suite #3: Rhapsody in A
Tuba
Tuba Solo - Level 5 - Digital Download SKU: A0.991806 Composed by Jason Allie. Roma…
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Tuba Solo - Level 5 - Digital Download 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 Édesen Édesen translates to sweetly in Hungarian, and is this movement’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 range’s extremities so pitches don’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 former’s idyll and sets the case for the next movement’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, it’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.
$12.99
11.88 €
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Tuba
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Jason Allie
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Unaccompanied Tuba Suite #3: Rhapsody in A
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Joaba LLC
#
SheetMusicPlus
Chapters - For Solo Bass Tuba
Tuba
Tuba Solo - Level 5 - Digital Download SKU: A0.1392428 By Elihu S. Conant-Haque. By…
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Tuba Solo - Level 5 - Digital Download SKU: A0.1392428 By Elihu S. Conant-Haque. By Elihu S. Conant-Haque. Arranged by Elihu S. Conant-Haque. 21st Century,Contemporary. Individual part. 6 pages. E. S. Conant-Haque #975958. Published by E. S. Conant-Haque (A0.1392428). Chapters is a 7-minute long monologue for the bass tuba. The main theme is a connected line ascending through the most lyrical range of the instrument; in between theme statements are quasi-polyphonic lines which use the full range of the tuba to create the illusion of bass, harmony, and melody. The singsong nature of the theme invites rubato interpretation, and expressive annotations throughout the score encourage this further. A majestic theme appears briefly towards the end of the work, which the player should clearly convey as a brilliant and triumphal outcry. The final statement is a long series of delicate, uninterrupted arrpegios decrescendoing to ppp, and is best circular-breathed. This piece demands a high technical level and is for the advanced player seeking to expand their musicality.
$10.00
9.14 €
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Tuba
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Elihu S
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Elihu S
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Chapters - For Solo Bass Tuba
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E. S. Conant-Haque
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SheetMusicPlus
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
18.28 €
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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
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