Par BRENET THERESE. / Niveau : Elémentaire / contemporain / Répertoire / Flûte Traversière et Piano

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

Instrumental Play-Along-Features solo arrangements of 15 powerful songs from the Christian/gospel genre. The full-accompaniment play-along CD with tempo adjustment software lets solo instrumentalists sound just like the pros! Songs include: Agnus Dei - Great Is the Lord - He Is Exalted - Here I Am to Worship - In Christ Alone - Indescribable - Mighty to Save - There Is a Redeemer - The Wonderful Cross - and more.

Instrumental Play-Along-11 great hits from the silver screen: Best Years of Our Lives (Part I) · Flip Flop and Fly · I Will Remember You · I'm a Believer · If I Didn't Have You · Iris · Lady Marmalade · My Funny Friend and Me · Ready to Run · There You'll Be.

Instant no-frills arrangements of over 225 great blues numbers. Each song consists of melody line, chord symbols and lyrics (where appropriate). That's all there is to it! Just open the book and start playing.

Includes scales for soloing, piano voicings, guitar voicings, sample bass parts for each tune. When needed, there are separate rhythm section charts and /or horn harmony charts to help your band play authentic-sounding versions of the tunes. The rhythm section appendix gives the student a complete overview of all the major Afro-Cuban and Brazilian rhythmic styles, and sample parts for each player. / Instruments En Do

Programme Note WHIRLS´ WORLD (1970) for wind quintet. ?Whirl´s World? was composed in 1970 as one of a series of works which explored the so-called musical ´difference-phenomenon´. This term (which I coined in connection with a series of lectures in California that year) indicates a motivic duplicity in which two - often very simple - melodic ideas come ´out of phrase´ with each other giving rise to a course of constantly changing conditions. In Whirl´s World the difference phenomenon is heard from the beginning where a three-note motif and a four-note motif are set against each other. It all proceeds lake a lightning-fast series of chess moves; first notenumber 1 of the three-note motif is moved then note number 1 of the four-note motif thereafter note number 2 of the three-note motif - and so on. This fast opening flows into a slow section in which the differences now appear as ´fluctuations´ between very closely related tones (of which one is sung by the musician). There is only one movement built up as an organic growth from slow to furiously fast whirling and back again to slow which can be heard as ´slow-motion whirls´ as a water-world of ripples and bubbles. All this is framed by the introduction described above and a corresponding conclusion in which the movement is now descending ending in the resolute bass full-stop. Per Norgård

Restart Flute guides returning players through 12 specially selected tracks to bring them successfully back up to speed with the flute at their own enjoyable pace.With additional exercises tips and theoryreminders latent flautists will find the learning curve engaging and rewarding yet flexible with special focus paid to common issues such as hand position breathing and posture and remastering the embouchure.TheRestart series of books are written by specialist practising teachers for people rediscovering the joy of playing music again. Each title comes complete with an accompanying CD of popular and classical backing tracks andonline support materials.

Serenade for Flute Violin and Viola in D major op. 25-What occasioned Beethoven to write a composition for such an unusual and yet sonorous group of instruments? Was it perhaps commissioned by a nobleman who played music with such a group and needed music? Whatever thereason behind it Opus 25 is one of Beethoven’s few chamber music works that did not have a Bass instrument. Despite the unusual combination of instruments Beethoven had no difficulty in finding apublisher for his serenade; shortly afterwards he even turned to the work again and revised an arrangement for Flute and Piano (Op. 41) which had been made by a third party. Our revised edition follows the musical text which willsoon be published in volume VI/1 of our new Beethoven Complete Edition.

The solo flute here is kept in high profile by the absence from the orchestra not only of other flutes but also of violins and oboes; in addition the trumpets are used sparingly (they do not for instance play in the slowmovement) so that for much of the time the flute is playing against a mellow ensemble of clarinets horns bassoons and low strings. If this is nevertheless one of Davies's most open-spirited pieces that comes partly from theready flights of the soloist partly from its glockenspiel accompaniments in the outer movements (replaced by ticking claves in the Adagio) partly from the dancing character of so much of the music and partly from the harmonicclarity in a light region not far from C minor.

The Flute Way-Encouraged by the incredible success of Rue Traversière 1 composer Sophie Dufeutrelle Professor of Flute at the Ecole Nationale de Musique de Villeurbanne is back with a second volume entirely focused on double and triple tonguing – a technique fundamental to the airy pearled and nimble sounds of the Flute. Determined to avoid a dry approach the creator of Rue Traversière 2 opted for a progressive development that limits the role of exercises per se. The book begins with five short focused studies with five more disseminated throughout the rest of the work. Allegros from the Baroque repertoire however are given pride of place withBoismortier Handel Quantz and Telemann (and many others) bringing a vital touch of vibrancy and sensuality to the learning experience. Instrumental practice is all too often reduced to solitary repetition with no other companion than the all-intrusive metronome. There’s nothing like that there: all of the pieces are arranged for two Flutes and the last two pieces are even for trios. Because sharing is an essential part of the pleasure of music!

Folk Songs-The art of flute playing is to make it sing like the human voice and there is no better way to practise this than to play melodies. In this collection of Scottish songs there are opportunities to develop this singing stylein the various registers of the flute.

In a letter dating from 1777 Mozart reported to his father from Mannheim that Johann Baptist Wendling principal Flautist of the famous Mannheim Orchestra had been approached by a wealthy Dutch businessman by the name of De Jean who was prepared to pay 200 gulden for three easy flute concertos and four flute quartets for his own use. Mozart accepted the commission. By the day before the Dutchman left Mozart had delivered only three of the quartets andtwo concertos for which he had been paid 964 gulden. The composer who was himself being pressed by his father to continue his own journey to Paris with his mother was full of excuses writing back to Salzburg on 14 February 'It is not surprising I have been unable to finish them for I never have a single hour's quiet here...Moreover you know I become quite powerless when I am obliged to write for an instrument I can't stand.' There is more than a hint of disingenuousness in Mozart's words for this was the height of the period during which he was being distracted from his work by his new-found love for the Mannheim singer Aloysia Weber. (He ultimatelymarried her sister Constanze.) If Mozart's dislike of the Flute was as great as he claimed there are few signs in the Flute Concerto No.1 in G major particularly in the expressive central Adagio ma non troppo. The outermovements are an Allegro maestoso and a concluding Rondo: Tempo di Menuetto. The work is scored for two oboes (replaced by flutes in the Adagio) two horns and strings. This Great Performers' Edition is edited byJames Galway.