Farewell, Dear Love, How Should I Shew My Love, I Know Not What. Par JONES. Arr. : F. Gosselin / Niveau : Fin 1er Cycle / Recueil / 4 Flûtes à Bec

Dispose de 72 classiques Motown: ABC - Ain't No Mountain High Enough - Baby Love - Ben - Come See About Me - Dancing in the Street - Do You Love Me - facile - une fois dans ma vie - - Heatwave Higher Ground - Puis-je 't - Help Myself I Hear a Symphony I - Il appris par la rumeur - I Second That Emotion - I'll Be There - Jimmy Mack Mercy -, Mercy Me (The Ecology) - My Cherie Amour - Ma fille bébé Ooo Baby - Stop! Au nom de l'amour - Three Times a Lady - - Guerre Where Did Our Love Go - plus! Des lignes mélodiques, accords et paroles, ainsi qu'une section de diagrammes d'accords guitare. / Instruments En Do / 256 pages / Partition

Par BEATLES THE. Easy arrangements for recorder by Robin De Smet of famous Beatles songs. Thirty tunes with chord symbols, including 'Lady Madonna', 'She Loves You', 'When I'm Sixty-Four' and 'Yesterday'. / Rép International / Recueil / Flûte à Bec

Neuf classiques de Disney arrangé pour solo ou en duo enregistreur: 'Kiss the Girl? and 'Under the Sea? from The Little Mermaid - 'Be Our Guest? and 'Beauty and the Beast? from Beauty and the Beast - 'Friend like Me? and 'A Whole New World? from Aladdin - 'Can You Feel the Love Tonight,? 'Circle of Life? and 'I Just Can't Wait to Be King? from The Lion King. Includes a helpful fingering chart. / Flûte A Bec

6 Partiten Für Altblockflöte Und Bc - Heft 1 (I-Iii). Par TELEMANN GEORG PHILIPP. Telemanns 'Kleine Cammermusik', 1716 erstmals im Druck erschienen, ist vorzugsweise für Oboe bestimmt. Um diese reizvollen Kompositionen auch den Altblockflöte-SpielerInnen zugänglich zu machen, wurden die Partiten für die vorliegende Ausgabe transponiert, folgen aber davon abgesehen streng der Vorlage. Ein Juwel barocker Kammermusik! Die komplette Transposition dieses Standardwerks macht die berühmten Stücke nun auch Altblockflötern zugänglich. / Niveau : Assez Facile / Répertoire / Flûte à Bec

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition TRIO SONATE No I qui a été écrite pourFlûte A Bec Et Piano. Les éditions Billaudot qui ont éditées cette oeuvre l'ont répertoriée sour la référence GB7936. / Flûte A Bec Et Piano / Partition

La référence GB4878 de l'éditeur Billaudot dont l'auteur célèbre est Boismortier Joseph Bodin De, qui a pour titre SONATES I ET II, OPUS 27, a été écrite et composée pour Flûte à bec et plus particulièrement pour Flûte A Bec Et Piano. Cette partition musicale appartient à la catégorie Classique. / Flûte A Bec Et Piano / Partition

Music from the Motion Picture Soundtrack-This Recorder Fun!� pack makes learning to play recorder easy even if you've never played before! In no time at all you'll be playing your favorite songs from the hit 2019 Disney movie Frozen 2. This book includes easy arrangements of 8 songs in E-Z Play® Today notation plus a fingering chart. Songs include: All Is Found � Into the Unknown � Lost in the Woods � The Next Right Thing � Reindeer(s) Are Better Than People (Cont.) � Show Yourself � Some Things Never Change � When I Am Older.

The Chinese Pictures for solo flute (s) (1993) were composed for the premiere played by the solo flutist Walter van Hauwe but Yun also wished for a performance by German flutes. The four pieces which Yun composed in June 1993 in Hohegeiß/ Harz are characterised by the reduced structural capacity of his style the memories of far eastern flute-idioms - with the exceprion of the third piece Der Affenspieler - and a Buddhist pattern. Yun consistently limits his work: all pieces come from techniques of the evolved variations and contrastive adaptions from (repsectively different) two- or three-toned themes. The first two pieces have the contemplative tenor as well as the spiraldramaturgy of the upward auched semi-circle the archetypal symbol for heaven in common. However the themes are conflictive: Bigger intervals abound the single tone in I. Der Besucher der Idylle whereas the tight coupling with the 'main tone' through smaller intervals in II. Der Eremit am Wasser evoke a softer sound. This clearly mirrors the impression of the single tone as a brush mark. Both pieces are - just like IV. Die Hirtenflöte - inspired by various variations of the story of the shepherd and his ox which in east Asia is used to name the 'inner child' of a human. The title if the first piece in the autograph is Der Besucher der Eremitage and refers to Buddhist hermitage. The visitor of this idyll is the farmer who leads his ox to the water for him to drink. The continuation of this parable is expressed by the second piece Der Eremit am Wasser. Together with the farmer the hermit comes to the water and rinses his ears. The farmer asks him why he would do that and the hermit responds: 'I was in town at the royal palace. I was to be empoloyed as sergeant and got offered a good payment. But when I asked what I had to do I heard terrible things. That is why I have to rinse my ears. ' The farmer however is disgusted by the contamination of the water; he leaves the fountain without letting his ox drink. The title of the third piece

During the 1940s I was often involved with musical activities at Morley College where Walter Bergmann was the choir's accompanist. He was a keen recorder player and often asked me (then in my twenties) to write something for him. I must have obliged with this suite, although I have now absolutely no recollection of writing it. Amazingly the manuscript turned up many years later in, of all places, the musical library of Sir Thomas Beecham. Why and how I shall never know! Antony Hopkins (2012) / Flûte A Bec Et Piano

The best way to learn any instrument is to have lessons from a good experienced teacher. Although happily the number of such teachers is constantly growing the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.This series of books sets out to help learners of all ages in all three situations. Experienced teachers who may choose to disregard much of the text as personal demonstration is always clearer than the written word will find exercises and fine tunes a-plenty to support their own mathod at each stage. The less experienced willbenefit from many valuable teaching hints culled fromlong experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books taking plenty of time to assimilate each point before moving on. For them without the personal model provided by a live teacher it is vitally important to listen as often as possible to fine players in person or on record so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.But however they start I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle delightful and sociable of instruments. (Brian Bonsor)?...this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken? (Oliver James Contact Magazine)These two tutors with accompanying teacher's books are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.

Recorder Quartets - Volume 1 - Vocal Music of the Renaissance   Contents:   Now o now I need must part - John Dowland (SATB)   Fair Phyllis I saw sitting alone - John Farmer (SATB)   Come lovers follow me - Thomas Morley (AATB)   I will no more come to thee - Thomas Morley (AATB)   Motet 'Ecce iam venit plenitudo' - Gioseffo Zarlino (ATTB)   Si el pastorcicos es neuvo - Juan Vásquez (ATTB)   Dizen a mi que los amores é - Jaun Vásquez (ATTB)   Par amores lo maldixo - JuanVásquez (SATB)   Zagaleja de lo verde - Juan Vásquez (SATB)   Quando? quando? - Juan Vásquez (SATB)   Il est bel et bon? - Passereau (SATB)   Allon gay gay gay bergerès - Guillaume Costeley (SATB)   Orsus orsus vous dormez trop - Clement Jannequin (AATB)   El grillo - Josquin des Préz (AATB)

First published in 1982 Jean-Claude Veilhan (born in 1940) compiled this enlightening compilation  I Learn The Recorder following his studies of woodwind at the Regional Conservatory of Versailles and a prominent career as a professional Recorder and Clarinet player. As a prominent Recorder player himself Veilhan has performed much of the the repertoire for the instrument and therefore is well acquainted with its workings. I Learn The Recorder encompasses basic theory elements including note values and names as well as helpful labelled diagrams demonstrating fingerings and showing thebeginner how to hold the instrument. This Veilhan book also includes many exercises to aid progression. I Learn The Recorder is essential to beginners of the instrument.