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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
Theme from Ant-Man
Non classifié
548
Piano & claviers
Piano seul
581
Instruments en Do
228
Piano Facile
191
Piano, Voix et Guitare
71
Piano, Voix
37
Orgue
31
1 Piano, 4 mains
10
Piano Quatuor: piano, violon, alto, violoncelle
6
Ligne De Mélodie, Piano
5
Piano Trio: piano, violon, violoncelle
3
Piano grosses notes
3
Piano Quintette: piano, 2 violons, alto, violoncelle
3
2 Pianos, 4 mains
2
Accompagnement Piano
2
Clavier
1
Orgue, Trompette (duo)
1
Accordéon
1
Piano (partie séparée)
1
Instrument seul et Orgue
1
Piano Quatuor: piano, 2 violons, violoncelle
1
+ 15 instrumentations
Retracter
Guitares
Guitare notes et tablatures
44
Guitare
39
Ligne De Mélodie, (Paroles) et Accords
23
Piano, Guitare (duo)
12
Mandoline
7
2 Guitares (duo)
5
4 Guitares (Quatuor)
5
Ukulele
3
Paroles et Accords
2
Basse electrique
2
3 Guitares (trio)
2
Ensemble de Ukulélés
1
Guitare, Violon, Violoncelle (trio)
1
Basse électrique (partie séparée)
1
Ensemble de guitares
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
42
Chorale 2 parties
12
Chorale 3 parties
11
Voix Alto, Piano
10
Chorale TTBB
5
Chorale Unison
5
Voix duo, Piano
4
Voix duo
2
Chorale
2
Chorale SSAA
2
Soli, choeur mixte et accompagnement
1
+ 6 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
144
Quintette de Saxophone: 5 saxophones
118
Quatuor de Saxophones: 4 saxophones
80
Flûte traversière et Piano
79
Clarinette et Piano
74
Flûte, Hautbois, Clarinette, Basson
70
Saxophone Alto et Piano
59
Hautbois, Piano (duo)
58
Saxophone Tenor et Piano
40
Saxophone Soprano et Piano
35
Clarinette
34
Quatuor de Clarinettes: 4 clarinettes
32
2 Saxophones (duo)
30
Flûte traversière
28
Saxophone Baryton, Piano
27
Clarinette Basse, Piano
24
Saxophone
17
Ensemble de saxophones
16
Cor anglais, Piano
16
2 Flûtes traversières (duo)
15
Quatuor de Flûtes : 4 flûtes
14
Saxophone Tenor
13
Saxophone Alto
13
2 Clarinettes (duo)
12
Ensemble de Clarinettes
11
Saxophone (partie séparée)
11
3 Saxophones (trio)
10
Clarinette (partie séparée)
9
Flûte, Clarinette, Cor, Basson (Quartet)
8
Quintette de Flûte : 5 flûtes
8
Flûte, Clarinette (duo)
8
Quintette de Clarinettes: 5 clarinettes
7
3 Clarinettes (trio)
7
Saxophone, Clarinette (duo)
6
Trio de Flûtes: 3 flûtes
6
Ensemble de Flûtes
6
Hautbois (partie séparée)
5
Saxophone Soprano
5
Hautbois, Clarinette (duo)
5
Clarinette, Violon (duo)
5
2 Hautbois (duo)
5
Flute (partie séparée)
4
Saxophone Baryton
4
Clarinette, Trompette (duo)
4
Clarinette et Alto
3
Flûte, Violon
3
Flûte, Saxophone (duo)
3
Flûte et Guitare
3
Hautbois, Flûte
3
Clarinette, Basson (duo)
3
Hautbois, Basson (duo)
2
Piccolo, Piano
2
2 Flûte à bec (duo)
2
Saxophone et Orgue
2
Flûte à bec Soprano
2
Flûte, Trompette (duo)
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Basson et Piano
1
Flûte, trombone et piano
1
Hautbois, Violoncelle et Piano
1
Flûte, Violon et Violoncelle
1
Flûte, Alto (duo)
1
2 Cors Anglais Et Pianoforte
1
Flûte traversière, Orgue (duo)
1
Clarinette, Violoncelle (duo)
1
Clarinette, Orgue
1
2 Saxophones, Piano
1
Flûte à bec, Guitare (duo)
1
Instruments en Mib
1
Flûte, Hautbois (duo)
1
Clarinette, Alto et Piano (trio)
1
Flûte, Clarinette et Basson
1
Clarinette, Trombone (duo)
1
Clarinette, trompette et piano
1
Ensemble à vent
1
+ 71 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
101
Quatuor de Cuivres
65
Trompette, Piano
50
Quatuor de Cuivres : 2 trompettes, trombone, tuba
49
Trombone et Piano
46
Cor et Piano
37
Euphonium, Piano (duo)
20
Trompette
19
Cor anglais, Piano
16
Tuba et Piano
13
Trompette (partie séparée)
10
Trompette, Trombone (duo)
10
Quatuor de Cuivres: 2 trompettes, Cor, trombone
9
Ensemble de Trombones
9
Trombone (partie séparée)
7
2 Trombones (duo)
6
Trombone
6
Ensemble de Trompettes
5
Trompette, Cor (duo)
5
Quatuor de cuivres: 4 trombones
5
2 Cors (duo)
5
Tuba
4
2 Trompettes (duo)
4
Trompette, Saxophone (duo)
4
Cor
3
Cor (partie séparée)
2
Trombone, Cor (duo)
2
Ensemble de Cors
2
3 Trompettes (trio)
2
Ensemble de Tubas
1
Quatuor de cuivres: 4 cors
1
Euphonium, Tuba (duo)
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
2 Cors Anglais Et Pianoforte
1
Trombone, Orgue
1
Trompette, Euphonium (duo)
1
3 Trombones (trio)
1
Instruments en Sib
1
2 Euphoniums et 2 Tubas
1
Bass Clef Instruments
1
Trio de Cuivres
1
Quatuor de cuivres: 4 trompettes
1
Tuba (partie séparée)
1
Cor, Violoncelle (duo)
1
3 Tubas (trio)
1
+ 40 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
171
Violon et Piano
92
Quintette à cordes: 2 violons, alto, violoncelle, basse
74
Violoncelle, Piano
65
Alto, Piano
49
Violon
38
Violon, Violoncelle (duo)
22
Harpe
16
Trio à Cordes: violon, alto, violoncelle
16
Violoncelle
15
2 Violons (duo)
14
2 Violoncelles (duo)
14
Alto seul
14
Contrebasse, Piano (duo)
11
Trio à Cordes: 2 violons, violoncelle
11
4 Violoncelles
11
Violon (partie séparée)
10
2 Harpes (duo)
10
Violon, Alto (duo)
8
Ensemble de Violons
6
2 Altos (duo)
6
Contrebasse (partie séparée)
5
Trio à cordes
5
Trio à Cordes: 3 violoncelles
5
Ensemble d'Altos
4
Violon, Guitare (duo)
3
Alto, Violoncelle (duo)
2
Contre Basse
2
Alto (partie séparée)
2
Piano Trio: Violon, Alto, Piano
2
Trio à cordes: 3 violins
2
Alto, Guitare (duo)
1
Quatuor à cordes: 4 violons
1
Trio à cordes: 3 altos
1
Harpe, Voix
1
Violoncelle, Orgue
1
Violoncelle (partie séparée)
1
Harpe, Flûte (duo)
1
Violon, Clarinette, Piano (trio)
1
Harpe, Violon (duo)
1
Alto, Orgue
1
Violon, Orgue
1
+ 37 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
185
Orchestre
75
Orchestre à Cordes
64
Ensemble de cuivres
22
Orchestre de chambre
20
Ensemble Jazz
10
Xylophone, Piano
8
Percussion (partie séparée)
8
Cloches
7
Fanfare
7
Batterie
4
Quintette de Cuivres: autres combinaisons
2
Ensemble de Percussions
2
Jazz combo
2
Instrumentation Flexible
1
Marimba, Piano (duo)
1
Timbales (partie séparée)
1
2 Xylophones
1
+ 13 instrumentations
Retracter
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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PAS DE PART…
PERCU. ORCH…
PERCUSSION
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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
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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PUNK
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SOUL - R&B - HIP HOP…
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Theme from Ant-Man
Tuba
Partitions à imprimer
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Tales From The Crypt Theme
Tuba
Tuba Solo - Level 2 - Digital Download SKU: A0.951624 Composed by Danny Elfman. Arr…
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Tuba Solo - Level 2 - Digital Download SKU: A0.951624 Composed by Danny Elfman. Arranged by Travis Hayman. Contemporary. Individual part. 6 pages. Travis Hayman #6573317. Published by Travis Hayman (A0.951624). Tales from the Crypt, sometimes titled HBO's Tales from the Crypt, is an American horror anthology television series that ran from June 10, 1989, to July 19, 1996, on the premium cable channel HBO for seven seasons with a total of 93 episodes. The show's title is based on the 1950s EC Comics series of the same name and most of the content originated in that comic or other EC Comics of the time. The theme song (by Danny Elfman) is just a iconic as the show's host, the Crypt Keeper.
$9.99
9.21 €
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Tuba
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Danny Elfman
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Travis Hayman
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Tales From The Crypt Theme
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Travis Hayman
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SheetMusicPlus
Tuba solo - "And Can It Be?" Theme and Variations
Tuba
Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles …
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Piano,Tuba - Level 3 - Digital Download SKU: A0.844352 Composed by Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825. Arranged by Dan Cutchen. Christian,Easter,Sacred,Spiritual. Score and part. 15 pages. Dan Cutchen Music #4285469. Published by Dan Cutchen Music (A0.844352). This arrangement of And Can It Be That I Should Gain? is for tuba solo and piano.A theme and variation treatment is used. For a piano background Mp3 track, search for: Tuba - And Can It Be? Piano Accompaniment, Dan CutchenTime: approximately 6:00To contact Dan Cutchen, go to:Facebook: https://www.facebook.com/merry1722/dancutchen.com: http://www.dancutchen.com/contactAnd Can It Be That I Should Gain? is a Christian hymn written by Charles Wesley. And Can It Be was written in 1738 to celebrate Wesley's conversion, which he regarded as having taken place on May 21 of that year.This beautiful hymn has been popular and enduring.And Can It Be That I Should Gain is perhaps one of the most joyfully poignant hymns penned by Charles Wesley (1707-1788). On Whitsunday (Pentecost), May 21, 1738, three days before his brother John experienced his heart strangely warmed,’ Charles was convalescing in the home of John Bray, a poor mechanic, when he heard a voice saying, In the name of Jesus of Nazareth, arise, and believe, and thou shalt be healed of all thy infirmities. The voice was most likely Mr. Bray’s sister who felt commanded to say these words in a dream.Anglican hymn writer Timothy Dudley-Smith, notes that the following then happened:Charles got out of bed and opening his Bible read from the Psalms: He have put a new song in my mouth, even praise unto our God, followed by the first verse of Isaiah 40, Comfort ye, comfort ye my people, saith your God. He wrote in his journal, I have found myself at peace with God, and rejoiced in the hope of love Christ (Dudley-Smith, 1987, 1).The statement from Mr. Bray’s sister sparked within Charles a conviction like he had never felt before. Moved and convicted in spirit, Charles wrestled with these words until he came to rest in his faith, knowing that it is by faith we are saved (Ephesians 2:8).Soon after this conversion experience, he wrote two hymns in celebration of the amazing love he had come to know: And Can It Be that I Should Gain and Where Shall My Wondering Soul Begin? (United Methodist Hymnal, 342)There has been some debate as to which hymn was written first, but most current scholarship accepts the latter as the first hymn written by Charles after his conversion experience. No matter its place in the chronology of Wesley's output, And Can It Be has been and remains one of his most remarkable hymns, expressing like no other the rapturous joy of receiving salvation.And Can It Be That I Should Gain. Hymnary.org, https://hymnary.org/text/and_can_it_be_that_i_should_gainDudley-Smith, Timothy. A Flame of Love: A Personal Choice of Charles Wesley’s Verse. London: Triangle SPCK, 1987.Timothy Dudley-Smith. And can it be that I should gain. The Canterbury Dictionary of Hymnology. Canterbury Press, accessed May 29, 2018, http://www.hymnology.co.uk/a/and-can-it-be-that-i-should-gain.Young, Carlton R. And Can It Be That I Should Gain. Companion to the United Methodist Hymnal. Abingdon Press, 1993.(Taken from: History of Hymns: And Can It Be That I Should Gain by DeAndre Johnson found at https://www.umcdiscipleship.org/resources)https://youtu.be/7-Qdg7QK.
$6.00
5.53 €
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Tuba
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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Dan Cutchen
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Tuba solo - "And Can It Be?" Theme and Variations
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Dan Cutchen Music
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SheetMusicPlus
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
#
Jason Allie
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Unaccompanied Tuba Suite #1 in B-flat Major
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Joaba LLC
#
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
11.98 €
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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
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SheetMusicPlus
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Theme from Ant-Man
