EUROPE
296 articles
USA
47 articles
DIGITAL
57 articles (à imprimer)
Partitions Digitales
Partitions à imprimer
57 partitions trouvées


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).

Description

A 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 Bâ™­ 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.

Unaccompanied Tuba Suite #2 in B-flat Major
Tuba

$15.99 15.11 € Tuba PDF SheetMusicPlus

B-Flat Tuba,Tuba Solo - Level 4 - Digital Download

SKU: A0.1435146

Composed by Stephan Langenberg. 21st Century,Christian,Holiday,Religious,Sacred. Individual part. 17 pages. Stephan Langenberg #1015252. Published by Stephan Langenberg (A0.1435146).

Inhaltlich orientiert sich das Werk am Evangelium nach Lukas 14,15-24:
Ein großes Fest ist bereitet. Der Gastgeber schickt seinen Knecht (Sprecher) um drei auserwählte Gäste (Chöre 1-3) einzuladen. Nachdem ihm alle Gäste eine Absage erteilen, kehrt der Knecht zu seinem Herrn zurück. Dieser schickt ihn aber erneut hinaus. Nun jedoch zu allen anderen Menschen um sie zum Fest einzuladen (Schlusschor: Geh hinaus). Jeder Gast in diesem Gleichnis wird durch eine Chornummer repräsentiert. Zu jedem unterschiedlichen Charakter sind unterschiedliche Stilistiken gewählt worden.

Besetzung

·         gemischter Chor (SATB) 4 bis 8 stimmig (vereinzelt Solisten aus dem Chor) 
·         Sprecher
·         Blechbläserquintett (2Tr/Flg, 1 Hrn, 1 Trb, 1 Tb) 
·         Klavier, Hammond Orgel (alternativ Pfeifenorgel)

Aufführungsdauer: ca. 30 Minuten (Bearbeitungen der einzelnen Chorstücke für Chor und Klavier ebenfalls verfügbar)

Inhalt
1.   Choral: „Selig die am Tisch des Herrn” (1)
2.   Der Knecht

3.   Der Weg zum ersten Gast (instrumental + Sprecher)
4.   Chor: „Du hast der Güter reich” (der erste Gast)
5.   Die Einladung/ die Absage (1)

6.   Der Weg zum zweiten Gast (s.o.)
7.   Chor: „Stark ist dein Arm” (der zweite Gast)
8.   Die Einladung/ die Absage (2)

9.   Der Weg zum dritten Gast (s.o)
10. Chor: „Wie schön du bist” (der dritte Gast)
11. Die Einladung/ die Absage (3)

12. Der Knecht (Reprise)
13. Chor: „Geh hinaus”
14. Choral: „Selig die am Tisch des Herrn” (2)

Uraufführung

Die Uraufführung im Rahmen der “Nacht der offenen Kirchen” in der Stadtkirche Unna fand große Zustimmung von Publikum und Ausführenden gleichermaßen. Sie fand am 08.06.2014 in der Stadtkirche Unna statt. Ausführende waren die Philipp-Nicolai Kantorei Unna, das Ensemble Grazination Brass aus Graz und Guntram Höft als Sprecher unter der Leitung von KMD Hannelore Höft.
Im Anschluss an das Konzert wurde die Nacht der offenen Kirchen mit einem großen Abendmahl im Kirchenraum gefeiert.

Hier geht zum Notenmaterial:
Sheet Music

Weitere Informationen zu meiner Person und meinen Werken finden Sie auf meiner neuen Internetseite: www.langenbergmedia.com

Das Große Gastmahl (Tuba) Tuba

$4.99 4.72 € Tuba PDF SheetMusicPlus

Tuba Solo - Level 5 - Digital Download

SKU: A0.966280

Composed by David. F. Golightly. Contemporary. Individual part. 14 pages. Modrana Music Publishers Ltd #2020021. Published by Modrana Music Publishers Ltd (A0.966280).

Serenade For Solo Tuba Review Serenade for solo Tuba by David Golightly Modrana Music Publishers Ltd. The Serenade for solo Tuba was premiered by James Anderson, Professor of Tuba at The Guildhall School of Music and Drama, London, England in May 1980. My only question is, why did it take so long to get published and into the repertoire of serious tubists all over the globe? It is definitely a welcome addition to the library of the solo tubist. Good solo pieces that are entertaining for audiences are quite hard to come by. This piece will most assuredly be one of those to join the ranks of Penderecki's Capriccio and Gregson's Alarum. The Serenade is set up in three movements and is metered throughout. The range of the work is from DD-g1. Movement One entitled March, is in 2/4 and m.m. equals 112. It is quite spirited in style and will require a performer with agile abilities to navigate through wide intervals and varied articulations. Movement Two is not your typical slow, melodic song that one would imagine from a title such as Elegy. It is extremely doloroso in nature and has the soloist soaring into the extreme upper range (g1) utilizing strict rhythmic patterns. The Gallop, movement three, is quite animated and encompasses mixed meters with the majority of the piece being in 6/8. Just when you think your triplets are moving along, a duple figure is thrown in to add variety to the melodic lines, which is actually quiet refreshing and prevents it from becoming a boring, technical exercise. As was stated before, this work will require a performer with great technique. Not for the less than advanced tubist. If you have conquered the other reputable solo tuba pieces, then this one should definitely be next. Raul I. Rodriguez Tuba Journal 1998. David writes music with great intelligence and accessibility, that also captures a human spirit that makes you want to share his music in-performance Ewan Easton (Halle Tuba) The MP3 is a computer generated file of the first movement March.

Tuba Serenade
Tuba

$11.99 11.33 € Tuba PDF SheetMusicPlus

Tuba Solo - Level 5 - Digital Download

SKU: A0.1164180

Composed by Karl Hinterbichler. 20th Century,Contemporary,Romantic Period. Individual part. 37 pages. Gordon Cherry #764528. Published by Gordon Cherry (A0.1164180).

A wonderful collection of Orchestral Etudes for Tuba, Volume 2 by Karl Hinterbichler, one of America's leading educators and performers. These etudes are imaginative, and challenging, and concentrate on perfecting technique, style, rhythm, and tempo. Professor Hinterbichler's Etudes Volume 2 concentrate on fourteen of the most requested Tuba orchestral excerpts. They include the original keys and clefs. These etudes are for advanced performers.

The works included in the Orchestral Etudes, Volume 2 are: Bruckner Symphonies No. 4 & 8, Elgar Pomp and Circumstance March No. 1 & Enigma Variations, Franck Symphony in D minor, Holst Planets, Revueltas Momenaje a Federico Garcia Lorca, Shostakovich Symphonies No. 5, 9 and Festive Overture, Richard Strauss Ein Heldenleben & Till Eulenspiegel, Stravinsky Rite of Spring & Petrushka, Verdi La Forza Del Destino Overture and Requiem. 

According to the composer, they are even more difficult than the actual excerpts themselves, so the real thing should seem simpler by comparison.

This music is also available as an eBook on Amazon Kindle.

The sound sample below contains an etude taken from Elgar Pomp and Circumstance March No. 1.

Orchestral Etudes for Tuba, Volume 2
Tuba

$25.00 23.62 € Tuba PDF SheetMusicPlus

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 Cutchen

Time: approximately 6:00

To contact Dan Cutchen, go to:
Facebook: https://www.facebook.com/merry1722/
dancutchen.com: http://www.dancutchen.com/contact

And 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_gain

Dudley-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.

Tuba solo - "And Can It Be?" Theme and Variations
Tuba

$6.00 5.67 € Tuba PDF SheetMusicPlus

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).

Description
A 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 minutes

Performance 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.

Unaccompanied Tuba Suite #1 in B-flat Major
Tuba

$9.99 9.44 € Tuba PDF SheetMusicPlus






Partitions Gratuites
Acheter des Partitions Musicales
Acheter des Partitions Digitales à Imprimer
Acheter des Instruments de Musique

© 2000 - 2024

Accueil - Version intégrale