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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
Two Minute Waltz
Non classifié
10
Piano & claviers
Piano seul
4
Piano, Voix
3
Piano, Voix et Guitare
1
Instruments en Do
1
Guitares
2 Guitares (duo)
1
Voix
Vents
2 Saxophones (duo)
20
2 Flûtes traversières (duo)
16
2 Clarinettes (duo)
8
2 Hautbois (duo)
7
Saxophone, Clarinette (duo)
3
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Flûte traversière et Piano
2
Ensemble de Flûtes
2
Clarinette, Violon (duo)
2
Clarinette, Trompette (duo)
2
Ensemble de Clarinettes
2
Clarinette et Piano
2
Clarinette et Alto
1
Flûte, Trompette (duo)
1
Hautbois, Basson (duo)
1
Flûte, Clarinette (duo)
1
Flûte, Alto (duo)
1
Hautbois, Clarinette (duo)
1
Flûte, Saxophone (duo)
1
3 Clarinettes (trio)
1
Flûte et Guitare
1
Saxophone Alto et Piano
1
Flûte à bec Soprano, Piano
1
Trio de Flûtes: 3 flûtes
1
Piccolo
1
Flûte, Violon
1
Hautbois, Flûte
1
+ 22 instrumentations
Retracter
Cuivres
2 Trompettes (duo)
7
2 Trombones (duo)
6
Trompette, Saxophone (duo)
2
Trompette, Cor (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Tuba
1
2 Euphoniums et 2 Tubas
1
2 Tubas (duo)
1
Trombone basse
1
Trompette, Trombone (duo)
1
Trombone basse et Piano
1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
Trio de Cuivres
1
+ 8 instrumentations
Retracter
Cordes
2 Violons (duo)
8
2 Violoncelles (duo)
6
Quatuor à cordes: 2 violons, alto, violoncelle
5
Trio à Cordes: violon, alto, violoncelle
3
2 Altos (duo)
3
2 Violons, Piano
1
Violon, Alto (duo)
1
Violon, Guitare (duo)
1
Violoncelle
1
Violon et Piano
1
Violon, Violoncelle (duo)
1
Violon
1
+ 7 instrumentations
Retracter
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Orchestre
5
Ensemble de cuivres
2
Orchestre d'harmonie
1
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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
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XYLOPHONE
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Vous avez sélectionné:
Two Minute Waltz
Tuba
Partitions à imprimer
1 partition trouvée
Unaccompanied Tuba Suite #1 in B-flat Major
#
Tuba
#
INTERMÉDIAIRE
#
Jason Allie
#
Unaccompanied Tuba Suite #1 in
#
Joaba LLC
#
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.
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Two Minute Waltz
