Partitions Numériques de What If... pour Tuba

Tuba Solo - Level 3 - SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (...(+)

Tuba Solo - Level 3 - SKU: A0.784337 Composed by Joshua Hauser. Instructional. Individual part. 38 pages. Slide Ride #5288667. Published by Slide Ride (A0.784337). 1 Octave Scale Studies in 15+ keys for 4-part ensembles of like or mixed instruments If this is your first exposure to these scale studies, you are in for a treat! Donuts, if you make a mistake!The initial incarnation of these studies were written for trombone quartet and we would play them in the Tennessee Tech Trombone Choir with the challenge that whomever made the first mistake had to buy donuts for the rest of the ensemble. Since then I have brought that version to several clinics and warm up sessions. One time before I got to explain the title, a fellow trombone professor said, Oh, I get it! Donâ€™t step in the holes!I only wish I had thought of that myself... Since we have one of the best donut shops in TN here in Cookeville, treating the studio to sugar coated goodies was always my intent.As with those initial exercises, you can vary these as much as youâ€™d like.Â· Choose a tempo.Â· Choose a dynamic.Â· Choose an articulation/style.One way I like to play these is to have one person be the model, playing the entire scale over and over while everyone else plays the fragmented versions. That helps everyone to keep on track and stay in time. Double or triple up the parts for ensemble cohesion with a larger group.Practice one key, gradually speeding it up to improve fluidity, or choose a variation and take it through all keys, playing version A, B, C, or D then skipping to play the same set in a new key.If you want an additional challenge, play them in different octaves or change the key. Play the F Major set in f minor (all forms), different modes, etc. Players really have to be on their toes to remember if they are playing melodic minor in the ascending or descending form! For jazz players, try swinging them in dorian or mixolydian modes.The variations are endless!If you are using these with transposing instruments, 1) is F Major in Concert Pitch, 2) is Bb Major in Concert pitch, and so on. When you reach a scale that is enharmonic for another key (Db/C#, Gb/F#, or Cb/B), they are presented in both keys for each instrument so Trumpets can play in Eb while the Flutes are playing in C# with similar examples for all keys.All Donut Etudes with the same volume number are compatible so you can play them in mixed quartets or large ensembles with one or more instruments/people on part 1 and a different instrument on part 2, etc. Since the quartets are all identical, conductors/coaches can use any of the scores to tell which part should be playing at what time. Once you have played a scale with one set of parts, everyone can rotate to a different part and play the same scales again!Enjoy!

$5.00

Unaccompanied Tuba Suite #2 in B-flat Major

Unaccompanied Tuba Suite #2 in B-flat Major #Tuba #INTERMÉDIAIRE/AVANCÉ #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 Introductionâ€ƒThis piece boldly explores the Bâ™ Major key and related tonalities. It yields exciting moves to tease the audienceâ€™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 variationâ€™s title indicates how to play it; further notes below. 1 PLAYFULâ€ƒStretches the themeâ€™s rhythms for a friendly teasing. 2 MAJESTICâ€ƒThis variation indulges in the compound meter exploration of the theme. Emphasize the linear lines and the ornamental notes will shine. 3 BRIGHTâ€ƒPractice the intervallic phrasing until you can hear what note follows which. Then bang it around for a jaunty, vigorous performance. 4 AGILEâ€ƒPractice slow then add speed. The luscious 16th notes energize the phrases and give them wit. 5 TEARFULâ€ƒLet the notes do the work-donâ€™t try too hard. 6 FESTIVEâ€ƒMust use repeats. A gigue that washes away the previous variationâ€™s mood. Always emphasize the one-two bounce feel throughout. 7 TREMENDOUSâ€ƒMolto expressivo. This A section is anguish; B is reflective, loving, and then tender. 8 CHICKENâ€ƒChicken chickens chicken. Chicken! 9 FANTASTICALâ€ƒNo repeats: just a glorious monstrosity of extraordinariness. Get ugly. 10 MARCHâ€ƒMust use repeats. If you clip the dotted notes and focus on the one-two, one-two march rhythm, the melody will soar. 11 BLUESâ€ƒBe sure to swing it and adjust the tempo so the bluesy sound comes through. 12 A CARNIVAL NEAR VENICEâ€ƒAkin to variation 2. Practice it slow and build up speed. Nothing more than the theme with a compound voice in the upper register. 13 FUGUEâ€ƒDistinguish the two lines and itâ€™ll be like playing two tubas simultaneously. Practice slow to learn to differentiate the two voices and itâ€™ll be a dazzler. 14 FAREWELLâ€ƒA 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

Flex on the Move-Tuba Edition

Flex on the Move-Tuba Edition #Tuba #INTERMÉDIAIRE/AVANCÉ #Methodes #Eric Bolvin #Flex on the Move-Tuba Edition #Faded Duck Music #SheetMusicPlus

Tuba - Advanced Intermediate - 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.

$16.95

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