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Two by Two Express
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
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Jason Allie
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Unaccompanied Tuba Suite #2 in B-flat Major
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Joaba LLC
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SheetMusicPlus
Elegy for solo tuba
Tuba
Tuba Solo - Level 5 - Digital Download SKU: A0.917229 Composed by Robert Chamberlin…
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Tuba Solo - Level 5 - Digital Download SKU: A0.917229 Composed by Robert Chamberlin. 20th Century,Contemporary. Individual part. 5 pages. Robert Chamberlin #4622313. Published by Robert Chamberlin (A0.917229). Dr. Gary Bird assembled and edited a volume in 1994 called Program Notes for the Solo Tuba. In it, he assembled information on what were determined to be the eighty-eight most important works for solo tuba written to that point in time. Robert Chamberlin’s Elegy (for solo tuba) was very deservedly included in the catalogue of works in that very important assemblage. Elegy was composed in 1981 for tubist, Jerry Young, and was written in collaboration with both Young and Daniel Perantoni. It was composed as a response to the assassination of Anwar Sadat, the Egyptian head-of-state who, along with Israeli Premier Menachem Begin and U.S. President Jimmy Carter, forged the peace agreement between those two countries that endures to this day. Chamberlin said: It is an expression of my sadness and anger that people resort to that particular type of violence for political gain. Since its premiere performance by Jerry Young at Webster University in 1981, the work has been performed in many venues by many soloists, and it almost always resonates with and touches very diverse audiences. The work uses a wide variety of expressive techniques, including multiphonics, pitch bends, half-valve technique, glissandi, whispering through the instrument, and the tuba mute. Perhaps the most striking and emotionally touching effect is that the entire work is played with the bell of the instrument pointed into the open lid of a grand piano with the sustain pedal depressed. The harmonic and echo-like acoustic effects created are stunning in every performance and venue. This is an outstanding musical artwork appropriate for any recital, but also very effective in settings where unexpected or tragic loss are being marked. It speaks to listeners of all backgrounds in a very pronounced way that few works seem to achieve. While it is in every sense a virtuoso work, it is one that repeatedly rewards both performer and audience.
$3.99
3.65 €
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Tuba
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Robert Chamberlin
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Elegy for solo tuba
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Robert Chamberlin
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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
5.49 €
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Tuba
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Lyrics: Charles Wesley, Music: Thomas Campbell, published 1738, and published 1825
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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
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