| Play the Tuba with the Philharmonic Wind Orchestra (with CD) Tuba [Sheet music + CD] - Intermediate/advanced Editions Marc Reift (Swiss import)
Famous Overtures. By Various. For Tuba. Swiss import. Level: Grade 4 -5. Songboo...(+)
Famous Overtures. By Various. For Tuba. Swiss import. Level: Grade 4 -5. Songbook and Play-Along CD. Published by Editions Marc Reift. (EMR 13133)
(1)$38.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Winners Galore (Tuba, Bass Clef) Tuba [Sheet music] Brass Wind Publications
Arranged by Lawrance. For Tuba unaccompanied. Solo Brass. Very easy-easy. Collec...(+)
Arranged by Lawrance. For Tuba unaccompanied. Solo Brass. Very easy-easy. Collection. Published by Brass Wind Publications
$10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Patrick Sheridan Presents Style Studies Tuba [Sheet music + CD] De Haske Publications
For Tuba. Performed by Patrick Sheridan. De Haske Play-Along Book. Book and CD P...(+)
For Tuba. Performed by Patrick Sheridan. De Haske Play-Along Book. Book and CD Package. Size 9x12 inches. Published by De Haske Publications. For years, there has been a limited selection of etude books for tuba that work on sound and technique. This concert study book includes a variety of styles and music written by modern composers specifically for tuba players. Gai Luron (Kernen)
Parade (Goorhuis)
Festivo (Vizzutti)
Dance - Heavy Boots (Cowles)
Polichinelle (Waignein)
Valseuse (Kernen)
Flying Kites (Goorhuis)
Stimulation (Crepin)
Jogging (Cowles)
Nonchalance (Crepin)
Sailor's Song (Vizzutti)
NuBknacker (Doss)
Mediterranean Park (Ferran)
Marionette (Sparke)
Esquisse (Waignein)
Recit And Aria (Sparke)
$23.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Marching to Victory Book Tuba [Part Book] C.L. Barnhouse
By Karl L. King. For tuba. Band Book/Folio. Tuba book. Part book. Composed 1942....(+)
By Karl L. King. For tuba. Band Book/Folio. Tuba book. Part book. Composed 1942. Published by C.L. Barnhouse
$4.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Essential Elements Book 1 - Tuba Tuba Hal Leonard
Essential Elements Band Method. Size 9x12 inches. 32 pages. Published by Hal Leo...(+)
Essential Elements Band Method. Size 9x12 inches. 32 pages. Published by Hal Leonard.
$6.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Winners Galore (Tuba, Bass Clef with CD) Tuba [Book + CD] Brass Wind Publications
Arranged by Lawrance. Solo Brass. Book and CD. Published by Brass Wind Publicati...(+)
Arranged by Lawrance. Solo Brass. Book and CD. Published by Brass Wind Publications (B5.0123BCD).
$16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Winners Galore (Horn/Tuba, Treble Clef with CD) [Book + CD] Brass Wind Publications
Arranged by Lawrance. For Horn Eb/Horn F/Tuba/Eb Bass. Solo Brass. Very easy-med...(+)
Arranged by Lawrance. For Horn Eb/Horn F/Tuba/Eb Bass. Solo Brass. Very easy-medium. Book & CD. Published by Brass Wind Publications
$16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Vacation Music Brass Quintet: 2 trumpets, horn, trombone, tuba - Intermediate/advanced Cimarron Music Press | | |
| Play the Tuba with the Philharmonic Wind Orchestra - Intermediate/advanced Editions Marc Reift (Swiss import)
Famous Overtures. By Various. For Tuba. Swiss import. Level: Grade 4+-5. Publish...(+)
Famous Overtures. By Various. For Tuba. Swiss import. Level: Grade 4+-5. Published by Editions Marc Reift. (EMR 13132)
$28.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Saxophone Omnibook for B-Flat Instruments Bb Instruments Hal Leonard
B-Flat Instruments Alto Clarinet; B-flat Instruments; French Horn; Trombone; ...(+)
B-Flat Instruments Alto
Clarinet; B-flat Instruments;
French Horn; Trombone;
Trumpet; Tuba
Transcribed Exactly from
Artist Recorded Solos.
Composed by Various. Jazz
Transcriptions. Jazz.
Softcover. 280 pages.
Published by Hal Leonard
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Winners Galore (Treble Brass) [Sheet music] Brass Wind Publications
Arranged by Lawrance. For Treble Clef Brass unaccompanied (Trumpet/Trombone/Euph...(+)
Arranged by Lawrance. For Treble Clef Brass unaccompanied (Trumpet/Trombone/Euphonium/Tuba/Eb Bass/Horn F/Horn Eb). Solo Brass. Very easy-easy. Collection. Published by Brass Wind Publications
$10.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Flying Circus Basset Hound Music
Brass Ensemble (4 Trumpets, 4 Horns, 4 Trombones (2 double on Euphonium), 2 Tuba...(+)
Brass Ensemble (4 Trumpets, 4 Horns, 4 Trombones (2 double on Euphonium), 2 Tubas and 3 Percussion) - Advanced SKU: HD.BASS14 Composed by Jim Self. Commissioned by the Pacific brass Ensemble. Large Ensemble. Duration 12:00. Published by Basset Hound Music (HD.BASS14). $90.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Viva Wagner! for Brass Choir, Timpani and Percussion - Advanced Cherry Classics
Brass 10-part Brass Choir with Timp and Percussion - Advanced SKU: CY.CC3098<...(+)
Brass 10-part Brass Choir with Timp and Percussion - Advanced SKU: CY.CC3098 Composed by Richard Wagner. Arranged by James Haynor. Classical. Score and Parts. Cherry Classics #CC3098. Published by Cherry Classics (CY.CC3098). ISBN 9790530110751. 8.5 x 11 in inches. James Haynor's arrangement of Wagner opera highlights for 10-part Brass Choir Timpani and Percussion is a real crackerjack featuring the following selections: 1. Pilgrim's Chorus from Lohengrin 2. Prelude to Act III from Lohengrin 3. Finale from Tristan and Isolde 4. The Flying Dutchman 5. Elsa's Procession to the Cathedral from Lohengrin 6. Ride of the Valkyries This work is for advanced performers and is about 8 minutes in length. Instrumentation is: 4 Trumpets in B-flat, 2 Horns, 3 Trombones, 1 Tuba (or 2 Tubas and 2 Trombones), Timpani and Percussion. $45.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blue Horizons - Advanced Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5 SKU: CF.SPS85 Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+24+28+28+8+4+8+8+14+8+9+12+12+8+8+8+8+12+12+9+12+8+16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85). ISBN 9781491156421. UPC: 680160914968. 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. $150.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Blue Horizons - Advanced 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 | | |
| Id?e Fixe Concert band [Sheet music] Mitropa Music
((First Movement from the Zeppelin Symphony - Symphony No. 1)). By Thomas Doss. ...(+)
((First Movement from the Zeppelin Symphony - Symphony No. 1)). By Thomas Doss. Mitropa Music Concert Band. Grade 5. Softcover. Published by Mitropa Music
$98.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| With the Greatest of Ease Concert band [Score and Parts] Carl Fischer
March. Composed by James Meredith. Score and part(s). 16 198 pages. Dur...(+)
March. Composed by James Meredith. Score and part(s). 16 198 pages. Duration 2 minutes, 25 seconds. Carl Fischer #SPS0069. Published by Carl Fischer (CF.SPS69).
$125.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 6 - At the End of the Day Orchestra - Intermediate/advanced Wilhelm Hansen
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Comp...(+)
Orchestra (Full Score) - Grade 4 SKU: HL.14032192 Full Score. Composed by Per Norgard. Music Sales America. 20Th Century, Classical. Softcover. 188 pages. Edition Wilhelm Hansen #KP00865. Published by Edition Wilhelm Hansen (HL.14032192). ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language). Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard. $125.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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