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247 sheet music found Flex on the Move-Tuba Edition
Flex on the Move-Tuba Edition # Tuba # INTERMEDIATE/ADVANCED # Instructional # Eric Bolvin # Flex on the Move-Tuba Edition # Faded Duck Music # SheetMusicPlus
Tuba - Advanced Intermediate
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Composed by Eric Bolvin.
Method, Etudes and Exercises,
Technique Training. 42 pages.
Published by Faded Duck Music...(+)
Tuba - Advanced Intermediate
-
Composed by Eric Bolvin.
Method, Etudes and Exercises,
Technique Training. 42 pages.
Published by Faded Duck Music Flex on the Move is a fun and creative approach to developing flexibility on all brass instruments. Available for trumpet, trombone and tuba. 42 pages and a lifetime of material!
Flex on the Move
There are many great books on flexibility (or ?lip flexibility? as it is commonly called) available to today?s brass players. The commonly used books include Irons 27 Groups, Smith Lip Flexibilities and Colin Advanced Lip Flexibilities. Flexibility studies do go all the way back to Arban and St, Jacome, but became a staple of brass pedagogy in the early 20th Century through teachers and authors like Del Staigers, Herbert L. Clarke, Earl D. Irons and Walter M. Smith.
There are different categories of flexibility exercises. There is ?Long Flexibility? like those found in Colin?s Vol. I of Advanced Lip Flexibilities. With Long Flexibility you stay on one fingering and play a long line that takes you through a large range. Then, there is ?Short Flexibility? similar to what is found in Irons and Smith where you play a repeated pattern on one fingering. Most flexibility falls into the Short Flexibility category. With this book, I would like to add ?Moving Flexibility? to the list. With Moving Flexibility you play a short pattern that takes you up and down through all the fingerings, covering a large range on your instrument. The idea of Moving Flexibility was first introduced in Arban p. 45 #16 and later in Charles Colin, 100 Original Warm-Ups.
Why Practice Flexibility?
Chances are, you?re not going to stand in front of an audience and perform flexibility studies. Flexibility studies are a means to an end, not the end. Most trumpet players practice some form of flexibility every day as it improves overall technique and gets you ready to play music. In our lessons, Claude Gordon would tell me how a particular exercise or routine he was writing would ?get me feelin? good.? So, that is my goal with these studies, to get you ?feelin? good?.
Technique
There are many beliefs among players as to what makes a brass instrument ?work?. Some believe it?s the lip, some believe it?s the tongue, some believe it?s the air, or some (like me) believe it?s a balance or coordination of all three. I don?t think that your chosen methodology will matter when practicing these exercises. If you practice them religiously and correctly, you?re playing will certainly improve. Twelve Duos for Tubas based on Armenian Folk Songs
Twelve Duos for Tubas based on Armenian Folk Songs # 2 Tubas (duet) # ADVANCED # Petros Shoujounian # Twelve Duos for Tubas based on # Gordon Cherry # SheetMusicPlus
Instrumental Duet Instrumental Duet,Tuba - Level 5 - SKU: A0.792723 Composed by Petros Shoujounian. Contemporary,Folk,World. Score and parts. 31 pages. ...(+)
Instrumental Duet Instrumental Duet,Tuba - Level 5 - SKU: A0.792723 Composed by Petros Shoujounian. Contemporary,Folk,World. Score and parts. 31 pages. Gordon Cherry #6071203. Published by Gordon Cherry (A0.792723). Petros Shoujounian, Armenian/Canadian composer has written Twelve Duos for Tubas based on the folksong collection of the Armenian priest Komitas, known as the founder of the Armenian national school of music and one of the pioneers of ethnomusicology. Below are comments from the composer about his inspiration in writing these Twelve Duos for Tubas. My interest in the collected works of Komitas's ethnographical songs was aroused when I was introduced to Bela Bartok's similar works followed by Alan Hovhaness's huge creative world. Bartok completed his project having at his disposal a large collection of ethnographic music, while Hovhannes studied the wealth of Komitas's music with great interest. It is difficult to say to what extent the Armenian underpinning of Hovhannes's works are nurtured by Komitas's musical world, but his classical interpretation of the Armenian ethnographical music created a huge interest in the listener. Needless to say, there is also Aram Katchaturian's legacy, which at its core has the ardent presence of the Armenian spirit, nurtured by Komitas's very existence. Komitas has left a collection of about 3,000 cleaned versions of ethnographic song and dance pieces, of which 1,700 has reaches us, about 400 of which have been activated. I believe that in those beautiful musical fragments reside the power to be revived, once we enrich them with colorful musical instruments and unbounded polyphonic imagination. This is the motivation behind my own work and these Twelve Duos for Tubas: to make the essence of our ethnographic music accessible through Komitas. These Twelve Duos are appropriate for advanced performers and may be performed on C Tuba, F Tuba and the larger B-flat Bass Tubas. Unaccompanied Tuba Suite #2 in B-flat Major
Unaccompanied Tuba Suite #2 in B-flat Major # Tuba # INTERMEDIATE/ADVANCED # Jason Allie # Unaccompanied Tuba Suite #2 in # Joaba LLC # SheetMusicPlus
Tuba Solo - Level 4 - SKU: A0.991804 Composed by Jason Allie. 20th Century,Contemporary,Romantic Period,World. Individual part. 14 pages. Joaba LLC #310...(+)
Tuba Solo - Level 4 - 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. Lascia Ch'io Pianga - From Opera 'Rinaldo' - G.F. Handel ( 2 Tubas and Piano)
Lascia Ch'io Pianga - From Opera 'Rinaldo' - G.F. Handel ( 2 Tubas and Piano) # Tuba and Piano # INTERMEDIATE/ADVANCED # Classical # George Frideric Handel # Raymond Fenech # Lascia Ch'io Pianga - From Ope # Raymond Fenech # SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Piano,Tuba - Level 4 - SKU: A0.760012 Composed by George Frideric Handel. Arranged by Raymond Fenech. Baroque,...(+)
Instrumental Duet,Piano Instrumental Duet,Piano,Tuba - Level 4 - SKU: A0.760012 Composed by George Frideric Handel. Arranged by Raymond Fenech. Baroque,Easter,Instructional,Praise & Worship,Standards. Score and parts. 19 pages. Raymond Fenech #3480643. Published by Raymond Fenech (A0.760012). Lascia ch’io pianga, originally Lascia la spina, cogli la rosa, is an Italian-language soprano aria by composer George Frideric Handel that has become a popular concert piece. Its melody is first found in Act III of Handel’s 1705 opera Almira as a sarabande. This aria is arranged for 2 Tubas and Piano . The Duration is approx. 4 minutes and the level is Advanced Intermediate.