| Tea for Tubas 4 Tubas BrassWorks4
By Cea. For Tuba Quartet (EETT) (2 Euphoniums, 2 Tubas). Published by BrassWorks...(+)
By Cea. For Tuba Quartet (EETT) (2 Euphoniums, 2 Tubas). Published by BrassWorks4
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Compatible Duets for Winds 2 Tubas (duet) Carl Fischer
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(31 Duets That Can Be Played by Any Combination of Wind Instruments). By Larry Clark. For Tuba. 48 pages. Published by Carl Fischer
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Just for Two Easy 2 Tubas (duet) Eighth Note Publications
Arranged by David Marlatt. For 2 Tubas. Duet or Duo; Mixed Instruments - Flexibl...(+)
Arranged by David Marlatt. For 2 Tubas. Duet or Duo; Mixed Instruments - Flexible Instrumentation; Part(s). Eighth Note Publications. 20 pages. Published by Eighth Note Publications
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 12 Beginning Duets for Tubas 2 Tubas (duet) [Score and Parts] Cherry Classics
Tuba Jazz Duets - Early Elementary SKU: CY.CC3164 Composed by Randy Aldcr...(+)
Tuba Jazz Duets - Early Elementary SKU: CY.CC3164 Composed by Randy Aldcroft. Classical. Score and Parts. Cherry Classics #CC3164. Published by Cherry Classics (CY.CC3164). ISBN 9790530111345. 8.5 x 11 in inches. Randy Aldcroft has written a great series of Twelve Beginning Jazz Duets for Tubas in easy keys with moderate range. The Duets are two pages each and are perfectly suited for two students or teacher and student. Mr. Aldcroft covers a variety of different styles in these Duets: Blues Bossa Nova Dixieland Jazz Waltz Rock Bebop Soft Shoe Minor Blues Jazz Ballad Mixed rhythms These Duets are a great way to learn Jazz styles in preparation for more serious study. $22.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Pink Panther 4 Tubas - Intermediate Kendor Music Inc.
By Henry Mancini. Arranged by Krush. For 2 baritones and 2 tubas. Baritone-Tuba ...(+)
By Henry Mancini. Arranged by Krush. For 2 baritones and 2 tubas. Baritone-Tuba Quartet. Level: Grade 4. Published by Kendor Music Inc.
$10.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Steal Away 4 Tubas Cimarron Music Press
By African American Spiritual. Arranged by R. Geese. Quartet. For tuba quartet (...(+)
By African American Spiritual. Arranged by R. Geese. Quartet. For tuba quartet (EETT)
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Tuba Duets for Teacher and Student 2 Tubas (duet)
Composed by Kenneth D. Friedrich. For tuba duet. Level 4 (student), Level 5 (tea...(+)
Composed by Kenneth D. Friedrich. For tuba duet. Level 4 (student), Level 5 (teacher). Published by Kenneth D. Friedrich
$14.50 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Forest of Arden Concert band [Score] - Intermediate G and M Brand Music Publishers
Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, ...(+)
Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet (optional), Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2, Ho) - grade 4 SKU: CN.S11042 Composed by George Lloyd. Band Music. Score only. Duration 10:00. Published by G & M Brand Music Publishers (CN.S11042). This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.
A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design. $15.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Blue Horizons [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5 SKU: CF.SPS85F Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F). ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy. $18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jeannette, Isabella Concert band [Score] - Beginner Manhattan Beach Music
By Traditional French Carol. Arranged by William Ryden. Concert band. Suitable f...(+)
By Traditional French Carol. Arranged by William Ryden. Concert band. Suitable for elementary and middle school bands. Christmas. Grade 1. Conductor Full Score. Duration 1:45. Published by Manhattan Beach Music
$12.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| My World in Motion, Book 1 (NFMC) Piano solo [Sheet music] - Beginner FJH
By Elizabeth W. Greenleaf. For Piano. Composers In Focus. This original collecti...(+)
By Elizabeth W. Greenleaf. For Piano. Composers In Focus. This original collection of eight charming songs portrays a myriad of delightful childhood scenes. Students will especially love the accessibility of these five-finger melodies. Wonderful teacher duets are provided to encourage inspired, ensemble playing. Contents include: The Donkey; Tubas on Parade; The Cold North Wind; Gentle Rain; Square Dance Tune; Drifting on a Calm River; Ring the Town Bells; Maple Leaves in the Wind. Level: Early Elementary. Book. Published by The FJH Music Company, Inc.
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Noel Night Concert band [Score] - Easy C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4242-01 (O Holy Night). Arrange...(+)
Concert band - Grade 2 SKU: CL.024-4242-01 (O Holy Night). Arranged by Robert W. Smith. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR380). Extra full score. Composed 2013. Duration 3 minutes, 16 seconds. C.L. Barnhouse #024-4242-01. Published by C.L. Barnhouse (CL.024-4242-01). Based on the beautiful carol O Holy Night, this setting by Robert W. Smith allows the developing band to present a strong musical statement at the holiday concert. Melody is featured throughout the band including the tubas and low woodwinds. An exceptional arrangement with rich teaching opportunities! $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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