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4th Avenue Suite
Composer: Paff, John
Instrumentation: Sextet Instruments: Euphonium, Tuba
Genre: ContemporaryEEETTT4th Avenue Suite is a composition set for three euphoniums and three tubas. Its inspiration comes from a vacation at North Carolina’s Outer Banks when we were staying in a rental house on 4th Avenue. The tunes are derived from a sequence of numbers used to open the digital door lock of the house for that week. The numbers, 3 6 8 2 4 3, are employed by their numerical placement in a musical scale. I thought: “What if; these numbers could be made into a tune (or several)?” The entire suite is not confined to these notes, but the tunes in the movements have grown out of this sequence. To construct several generations from a set of notes seemed enough, so no attempt has been made to relate the movements to events or situations. The movements are subtitled as follows: I. Intrada; II. Intermezzo; III. Minuet; and IV. Finale. The challenge level is Medium to Medium Difficult. All players are utilized in important roles and the composition offers various combinations of featured players, sections with just euphoniums or just tubas, and total ensemble. Learn More
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ITEC Day 3 June 1, 2016
Instruments: Euphonium, TubaITEC Day 3 2016 Recital Pieces
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CM2912 Prophecies - Barbara York (Mark Norman)
Tuba and Piano
CM2906 Snapshots - Barbara York (Mark Norman)
Tuba and Piano
CM2138 Every Day an Alleluia - Barbara York (Mark Norman and Joe Dollard)
Euph, Tuba and Piano
TEP10287 Tubas Latinas - Aldo Rafael Forte (U of MT)
Tuba Ensemble
CM2045 Tubas of the Apocalypse - Benjamin McMillan (U of MO at KC)
Tuba Quartet
TEP10598 Londonderry Air - Traditional/Mehlan (Baylor)
Tuba Quartet
CM1740 Color Code - Elizabeth Raum (Zach Collins)
French Horn, Tuba and Piano
CM2585 Big Sky - Frank Gulino (Zach Collins)
French Horn, Tuba and Piano
TEP11091 R.S.V.B. Hymn - Gail Robertson (R.S.V.B Quartet)
Tuba Quartet
CM1474 P.C. Tuba Quartet - Barbara York (R.S.V.B Quartet)
Tuba Quartet
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ITEC Day 1 May 30, 2016
Instruments: Euphonium, TubaITEC Day 1 2016 Recital Pieces
If not marked download or shipped, the product is only available in the printed form.
CM2675 The Struggle Within - Jonathon Oliver (TN Tech)
Tuba Ensemble
CM0168 Quartet for Brass - Ramsoe/Buttery (The Alchemy Quartet)
Tuba Quartet
CM 0108 Twinkle, Twinkle Little Star - Mozart/Werden (The Alchemy Quartet)
Tuba Quartet
TEP10752 Procession of the Nobles - Rimsky-Korsakov/Butler (KS State U)
Tuba Quartet
CM2875 The Girl with the Flaxen Hair - Debussy/Maxwell (KS State U)
Tuba Quartet
OV1001 Cat Affairs - Anna Baadsvik (Beth Mitchell and Alex Lapins)
Tuba or Euphonium duet and Piano
TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)
Tuba Ensemble and Percussion
BW0494 Suite for Six Tubas - Barton Cummings (UCLA)
Tuba Ensemble
TEP10221 Quatre Chansons (UCLA)
Tuba Quartet
CM2117 Four Paintings by Grant Wood - Barbara York (John Manning)
Tuba and Piano
TEP10697 Concerto per Flicorno Basso - Amilcare Ponchielli (Benjamin Pierce)
Tuba and Piano
OV0713 Vise (Simple Song) - Skomsvoll (Oystein Baadsvik)
Tuba and Piano
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ITEC Day 4 June 2, 2016
Instruments: Euphonium, TubaITEC Day 4 2016 Recital Pieces
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TEP11089/11090 Hexagon - Anne McGinty (Mark Nelson and Matt Tropman)
6 Movements - Euph/Tuba Solo and Duet with Piano
TEP10034 Contrapunctus IX - Bach/Forbes (IN U of Purdue)
Tuba Quartet
TEP10788 Bacchanale from “Samson and Dalila” - Saint-Saens/Wilson (E Carolina U)
Tuba Quartet
TEP10733 A Little Monster Music - Elizabeth Raum (E Carolina U)
Tuba Ensemble
TEP11088 - Prelude in C# Minor - Rachmaninov/Renshaw (Ensemble Subsonique)
Tuba Ensemble
CM2594 White Keys - Zach Collins (Atlas)
Tuba Quartet
CM2860 Ascendance - Ben McMillan (Atlas)
Tuba Quartet
CM1775 Power Play - Frank Gulino (Atlas)
Tuba Quartet
TEP10438 Mars - Holst/Butler (Appalachian State U)
Tuba Ensemble
TEP10287 Tubas Latinas - Aldo Rafael Forte (Oakland U)
Tuba Ensemble and Percussion
CM1481 Night on Bald Mountain - Mussorgsky/Sutherland (Presidio Brass)
Brass Quintet
CM2925 Shenandoah - arr. Scott Sutherland (Presidio Brass)
Brass Quartet and Piano
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Songs My Mother Taught Me
Composer: Dvorak, Antonin Arranger: Caldarise, Joseph
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Classicalwith Piano
Originally written in 1880 for voice and piano, “Songs My Mother Taught Me” is the 4th song from a cycle of seven, titled “Gypsy Melodies” (op. 55, no. 4). The text of the song, originally written in German and Czech by Adolf Heyduk, is as follows:
Songs my mother taught me, in the days long vanished;
Seldom from her eyelids were the teardrops banished.
Now I teach my children each melodious measure.
Oft the tears are flowing, oft they flow from my memory’s treasure.
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4 Solfeggi
Composer: Rossini, Gioacchino Arranger: Benton, Robert
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Classicalwith Piano
From the editor:
The pieces in this volume came from a collection of 18 Gorgheggi, 4 Solfeggi and 12 Nuovi Vocalizzi by Gioachino Rossini (1702-1868). The Gorgheggi are scale patterns and exercises for learning, turns, ornaments and other embellishments. The 4 Solfeggi are training pieces that are much more musical than the Gorgheggi. They are melodic, have accompaniments, and are functionally wordless songs. I would put these in a similar category to several of the Kopprasch horn etudes; quite musical, but still primarily pedagogical in nature. While an effective performer can bring enough musicianship to these to make them viable exam jury or recital repertoire, they still have the feel of training pieces due to the limited ranges, simpler harmonic designs, repeated melodic figures, etc. The Vocalizzi (published separately by Potenza in versions for both euphonium and tuba) have much more depth than the Solfeggi, and stand on their own merit amongst the more serious works of Rossini. They are the equal to-albeit in a different style than- Rachmaninov’s famous Vocalise Op. 34 No. 14.
These Rossini etudes are another entry into the realm of performative-yet-pedagogical material. They are truly in the bel canto style, yet to my ear, have more depth than your average Bordogni etude. Each of these etudes requires-or develops-flexibility, beauty of sound, and the utmost lyricism possible for brass musicians.
These etudes are ideal for either unaccompanied or accompanied performance, with the included piano accompaniment making them especially suitable for lesson, juries, and solo recitals.
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4 Majestic Hymns
Composer: Various Arranger: Cox, Richard H.
Instrumentation: Duet and Piano Instruments: Organ, Piano, Trumpet
Genre: HymnPerfect for any church service, these 4 stand alone hymn arrangements are for 2 Trumpets and Organ (Piano) Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.As low as $18.00
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The Horn Concerti
Composer: Mozart, Wolfgang Amadeus Arranger: Ruske, Eric
Instrumentation: Solo and Piano Instruments: French Horn, Piano
Genre: Wiener classicalwith Piano: Horn in original keys: K. 370b and K. 371 K. 412 and K. 514 (K. 386b) K. 417 K. 447 K. 495 Learn MoreAs low as $50.00
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10 Better Than Average Duets
Composer: DeMarsh, Joseph
Instrumentation: Duet Instruments: Tuba
Genre: Contemporaryfor 2 Tubas:I. Dance Mix
II. Dark Morning
III. Each Day I Love To Play My Tuba
IV. In The Forest
V. Pirate Song
VI. Read Your Music Carefully
VII. Running Music
VIII. Tubas On Parade
IX. Tuning Duet
X. Your Salmon Fell In The Pickle Juice Learn More
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Allegro et Andantango
Composer: Robertson, Gail
Instrumentation: Duet Instruments: Tuba
Genre: ContemporaryWritten for Nathan Giroux and Ross Kerley Allegro et Andantango was composed in 2010 and dedicated to two outstanding University of Central Florida tuba students, Ross Kerley and Nathan Giroux. The work begins with a fugue-like confrontation between the two tubas and then suddenly pulls back into a comforting melody that leads into the Andantango, (a 3/4 tango with a medium Andante tempo). Each player gets his or her chance at the melody as the other player accompanies along with the tango groove. Suddenly the battle returns with more intensity and it is later followed by the tango. However, the tango is no longer in 3/4, it is now in 4/4 with a twist. Once again, the encounter returns for the finale with only one tuba playing the battle theme as the other player cluelessly remains playing the tango. The two tubas finally return to the calming melody that seems to come to and end, and then... Learn MoreFrom $12.00
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Tuba Shorts...5 Of Them
Composer: Strobel, Ray
Instrumentation: Solo Instruments: Tuba
Genre: Contemporaryunaccompanied1. Introit
II. Quick Low Down
III. An “Actual” Minute Waltz (1:05, tops)
IV. Tell Tale Tuba
V. Lullaby Learn More
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Six Sonatas
Composer: Galliard, Ernest Arranger: Everett, Micah
Instrumentation: Solo and Piano Instruments: Bass Trombone, Piano
Genre: Baroquewith Piano
These settings of the Galliard bassoon sonatas grew out of a perceived need for more “intermediate-early advanced” solo literature for the bass trombone, as well as more settings of Baroque-period works for that instrument. While the sonatas are playable on the bass trombone in their original keys (whether at pitch or down one octave), by setting them in lower keys I have endeavored to make them useful for developing tone quality and technique in the valve register, while not going so low that clarity and facility might be compromised (as can be the case when playing in the original keys down one octave). The new keys I have chosen for each of the sonatas are closely related to the original ones, in every case down a perfect fourth or perfect fifth, so something of the “sound” of the original keys is maintained. Other than the key changes I have made very few adjustments to the intervals in the solo or left hand keyboard parts; in the places where I have done the most editing I have provided cues for the original intervals and/or rhythms so that the player can choose whether to perform the simplified part I have provided or something closer to the original.
The new keys (as well as copyright considerations) necessitated that I provide entirely new figured bass realizations for the accompanist’s right hand. These are entirely my own, though in the early stages of this project I did consult with Professor Stacy Rodgers, my colleague and collaborator at the University of Mississippi. I have provided more than a simple harmonic accompaniment in my realization; each movement has a number of short melodic passages to provide interest in the keyboard part for both performer and listener. Still, I have been purposefully reserved in writing these parts, and in no case should the keyboardist feel obligated to strictly adhere to the part as I have written it. I have left the figured bass in the score so that the performer can modify and/or build upon what I have provided, particularly in the repeats (as Professor Rodgers did when playing and recording one of the sonatas with me). I have labeled the accompaniment part simply as “keyboard” with the understanding that these sonatas were originally intended for performance with harpsichord (assisted by cello or bassoon) or organ, though I am sure that the vast majority of performances of these arrangements will have piano as the accompanying instrument. My “keyboard” part has thus been written with that instrument in mind. If performing with harpsichord assisted by cello or bassoon those players will need to make adjustments in places where the bass lines extend below the ranges of their instruments.
While I am confident that my right hand part is a faithful realization of the harmonic structure indicated by the composer, no attempt has been made either in my keyboard realization or in my light editing of the solo part to adhere to present scholarly conventions regarding the interpretation of “early music.” I have constructed these arrangements to meet the needs of twenty-first-century student (and professional) bass trombonists, and thus I have provided the interpretive markings which I believe will yield the most pleasing performances on that instrument. That said, I have sought to be modest in my indications of tempo, dynamics, articulation, and ornamentation, as these sonatas will admit varying interpretations in those respects. Performers and teachers are welcome and encouraged to experiment in order to find the interpretations which they think most effective.
Although I originally created these arrangements with the bass trombone in mind, I am sure that they will work equally well on tuba. Due to range considerations similar to those I mentioned above for the bass trombone, they might be particularly better-suited to performance on the F or E-flat tubas than previous editions of these sonatas. I am looking forward to using these arrangements with my students on both instruments, and hope that others will find them useful, as well.
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Ruby, The
Composer: Paff, John
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: Contemporary“The Ruby” is a medium easy quartet for two euphoniums and two tubas. It is based on a three-note motif, which I heard several times in a health facility with Ruby in its name. The three notes were sounded when and IV pump reached the end of a cycle and were the intervals of a major second followed by minor third. I could think of at least four tunes/ songs that began with these three notes and decided that they could be used to start other original melodies.In “The Ruby,” the three movement titles refer to shades of red, as red is perhaps the most quickly noticed property of a ruby. The music in the movements is not attempting to personify these shades, but is a fast (relatively), slow, fast arrangement utilizing different approaches to the starting motif. It is designed to help less experienced players have success with ensemble performance. Everyone has important parts, but the ranges, key signatures and rhythms are fairly tame. Enjoy performing and listening to “The Ruby”. Learn More
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Renaissance + Baroque Duets for Tuba, Vol. 2
Composer: Various Arranger: Opaskar, Peter
Instrumentation: Duet Instruments: Tuba
Genre: Baroque, Renaissance40 short duets for tubas from the Renaissance and Baroque eras in various keys, meter, and styles.
Volume 1 found here
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Eternal Light
Composer: Lester, Ian
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryEternal Light was composed in 2020 in hopes of providing optimism during one the darkest and most tumultuous times the world has ever seen. This work for tuba quartet features interlacing warm melodies between the two euphoniums with constant support from the two tubas. Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.From $17.00
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Persevere and Rebuild, for the Sun Will Rise Again
Composer: Lester, Ian
Instrumentation: Quartet Instruments: Euphonium, Tuba
Genre: ContemporaryPersevere and Rebuild, for the Sun will Rise Again was written for the 2020 ‘When Tuba Come One’ International Composition Competition, where it received an honorable mention and will be recorded on the When Tuba Come One Quartet’s upcoming CD in 2021. Dedicated to all of healthcare workers working on the front lines of the COVID-19 pandemic, this composition begins with a gorgeous slow section before shifting into faster, more optimistic territory, in which the two top voices are featured in rapid-fire solos. The tubas then provide a brief, thoughtful soli, where a temporarily calm heartbeat can be heard. The work ends with a driving, jubilant finale reminiscent of British brass band and Salvation Army band music. Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.From $18.00
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Renaissance + Baroque Duets for Tuba, Vol. 1
Composer: Various Arranger: Opaskar, Peter
Instrumentation: Duet Instruments: Tuba
Genre: Baroque, Renaissance45 short duets for tubas from the Renaissance and Baroque eras in various keys, meter, and styles.
Voluime 2 found here
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Overture for a New Day
Composer: Paff, John
Instrumentation: Sextet Instruments: Euphonium, Tuba
Genre: ContemporaryEEETTTOverture for a New Day is a programmatic piece set for three euphoniums and three tubas. The progression of the music takes the listener through phases of a day, starting with Daybreak. The day continues with Morning Mist, Midday, Afternoon Antics, Twilight and Night, with the music suggesting qualities that might go with these times of a day.
This ensemble aims to show the ways that such a group can work as a blending whole and then also feature the two sections, as well as giving the individual lines opportunities to shine. The performance level is medium trending toward medium-difficult. As this instrumentation is not as available as some, it affords a unique opportunity for euphonium and tuba players. Learn More
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Taps
Arranger: Zegiel, Evan
Instrumentation: Quintet Instruments: Trombone, Tuba
Genre: Contemporary4 Trombones and Tubas; For the Brevard Music Center Trombone Choir Learn MoreUpdate Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.From $18.00
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Feierlicher Einzug
Composer: Strauss, Richard Arranger: Bough, Thomas
Instrumentation: Brass Band (British style) Instruments: Bass Trombone, Cornet, Euphonium, Flugelhorn, French Horn, Timpani, Trombone, Tuba
Genre: ClassicalFanfare for the Solemn Procession of the Knights of the Order of St. JohnI am pleased to dedicate this arrangement to the Fox Valley Brass Band. Thanks to a generous donor, this project was completed during the Christmas season of 2019. Thanks also to Jonathan Hauser who suggested this wonderful piece of music as a performance opportunity for our band. Most of all, thanks to the talented and hard-working members of the Fox Valley Brass Band who allow me to conduct this wonderful ensemble. We look forward to performing this work for the very first time in March 22, 2020 at a joint concert with the Des Plaines Park District Community Concert Band, Dr. Allen Legutki, conductor.
The full name of the composition is “Feierlicher Einzug der Ritter des Johanniter-Orderns”, which the Wind Repertory Project web site translates as “Fanfare for the Solemn Procession of the Knights of the Order of St. John.” Program notes from the Northwestern University Symphonic Wind Ensemble point out that Strauss was already a well-known conductor and composer when he wrote this composition in 1909. One of only a handful of his works written exclusively for winds, Strauss’s powerful, majestic composition is scored for 15 trumpets, 4 horns, 4 trombones, 2 tubas and timpani. It was composed for the investiture ceremonies of the Order of St. John, a Western Christian military order that was founded in Jerusalem in 1023 to care for poor, sick or injured pilgrims journeying to the Holy Land. Learn More
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