Par GARIBOLDI G.. Préluder, s?échauffer, se « mettre en condition »... est effectivement un art. S?il paraît évident que les muscles mobilisés pour le son et la respiration ont besoin d?échauffement, il est tout autant nécessaire de mettre en vibration les mouvements de l?âme et de l?expression. L?art de préluder, écrit par l?auteur des Études Mignonnes, propose d?unir et de mettre en résonance ces deux qualités de l?art musical de l?interprète. Qualités illustrées ici par de courts textes savamment articulés et faisant une large place à l?imagination, à l?invention et au chant. Deux formes sont proposées : Le prélude devra être joué de façon mesurée et régulière afin de tester sa capacité d?expression et de souplesse du son dansun cadre donné. Le point d?orgue s?apparentant à une cadence libre développera l?imagination ainsi que l?organisation intérieure du tempo et sera stimulée par la recherche systématique de nuances agogiques. Dans tous les cas, il faudra s?attacher à mettre en valeur la musique par une sonorité souple, pleine et expressive et aussi donner à entendre le dessin des phrases et des nombreuses articulations. Des indications données par Gariboldi (ou moi-même) proposent une option qui pourra être à chaque fois librement réinventée. Encore une fois, le propos est de mettre en vibration et en condition l?expression d?un jeu fait de couleurs, de sentiments et d?intuitions. N?hésitez pas à changer les tempi, les nuances, les caractères. Concernant encore les tempi, il sera recommandé de jouer d?abord lentement les numéros de mouvement vif (3, 6, 8, 11 par exemple) afin d?installer une sonorité riche et souple. Ce sont les fameuses vertus du travail lent? L?exploration systématique des tonalités est également une source inépuisable d?inspiration. Des transpositions sont proposées par l?auteur, il sera utile de les appliquer à chaque numéro. Cet ouvrage sera aussi le compagnon idéal pour vos salles de chauffe. Il préparera et apaisera efficacement les moments difficiles qui précèdent parfois un concours ou un concert. Place maintenant à l?élégance, aux couleurs et au lyrisme dans cette gymnastique du son en musique grâce à cet Art de préluder ! Frédéric CHATOUX / Date parution : 2023-03-21/ Etude / Flûte Seule

FOR THE STUDENT This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addition there are viola part books that go along with this material. FOR THE TEACHER In order to be an effective Suzuki teacher a great deal ongoing education is required. Your national Suzuki association provides this for its membership. Teachers are encouraged to become members of their national Suzuki associations and maintain a teacher training schedule in order to remain current via institutes short-term programs and long-term programs. You are also encouraged to join the International SuzukiAssociation. FOR THE PARENT Credentials are essential for any teacher you choose. We recommend you to ask your teacher for his credentials especially those relating to traning in the Suzuki Method. The Suzuki Method should be a positive one where there exists a wonderful fostering relationship between child parent and teacher. So choosing the right teacher is of the utmost importance.

Johann Joachim Quantz's On Playing the Flute has long been recognized as one of the primary sources of information about eighteenth-century performance practice. In spite of its title it is not simply a tutor for the flute but a fully-fledged programme for training musicians of all types with detailed information on intonation ornamentation dynamics the 'duties' of the various accompanying performers including the leader of the orchestra and the principal forms and styles (French Italian and German) of the time. Although Quantz is most often identified as the teacher of Frederick the Great his musical roots were in Dresden the most brilliant musical establishmentin Germany; and his travels and studies in Italy France and England gave him direct experience of most phases of European musical life in the 1720s and 30s. This reissue of the second edition provides a wonderfully complete and detailed picture of musical taste and performance practice in the 18th century and includes a new introduction by Professor Reilly drawing attention to recent research on Quantz. Whether you want to learn to play the flute and be taught by the teacher of Frederick the Great or just to gain a first-hand insight into the history of classical music On Playing the Flute is an essential and entertaining read.

The Jazz Method for Flute will guide beginners of all ages from producing their first note on the instrument to the performance of full-blown pieces including 'classics' by Thelonious Monk Charlie Parker Sonny Rollins and Horace Silver.With step by step instruction and a progression of specially written tunes and exercises the fundamental elements of good flute technique are introduced alongside the rhythmic subtleties of jazz. Improvisation is encouraged from an early stage given direction through the study of scales and arpeggios and advice on ear-training and chord patterns.With supplementary suggestions for listening and reading and an Appendix (also included on a separate insert) containing all the chord progressions for 'live' accompaniment of the tunes The Jazz Method for Flute is ideally suited both to students working alone and those learning with a teacher. The accompanying CD includes recorded accompaniments for you to play along with.Author John O'Neill is an established performing musician and instrumental teacher in the jazz field.

Performed by Donald Peck flute Accompaniment: Judith Olson piano Donald Peck of the world-famous Chicago Symphony gives you a solid grounding in intermediate-level solos for flute and piano in this album which will bring you challenges and enjoyment as you advance on your instrument. Includes additional slow-tempo accompaniment versions of selected pieces (Bach Badinerie and Widor Scherzo) for practice or for a slightly slower interpretation. Includes a high-quality printed music score annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece minus the soloist.

Pour tous ceux qui recherchent un nouvel outil pédagogique pour apprendre à jouer d?un instrument à vent, les Éditions De Haske proposent la méthode Écouter, lire

Flute Time is a complete method by specialist teacher Ian Denley. Suitable for students of all ages it comprises carefully structured tutor books that address the foundations of technique through enjoyable pieces and exericises along with accompanying books of attractive pieces. With photographs diagrams checklists and quiz pages to monitor progress and broaden understanding this excellent method provides full support both for pupils and specialist and non-specialist teachers alike.suitable for the beginner through to Grade 2 standard.first steps on the mouthpiece and simple rhythm games.careful progression with a wealth of attractive practicematerial.clear guidance on good posture and fingering. practical steps to composing and improvising.scales and arpeggios; concert pieces and studies.CD with performances and minus-one tracks of many pieces.straightforward piano accompaniments in a separate volume.

Pour tous ceux qui recherchent un nouvel outil pédagogique pour apprendre à jouer d’un instrument à vent, les Éditions De Haske proposent la méthode Écouter, lire & jouer. Écouter, lire & jouer se compose d’une méthode richement illustrée en trois volumes avec compact disc et d’ouvrages éducatifs et ludiques fondés sur les principes actuels de la théorie musicale. Tout en se conformant aux exigences de l’apprentissage classique, cette collection utilise une approche résolument ouverte, motivante et moderne de l’enseignement musical permettant aux élèves de découvrir la pratique instrumentale avec plaisir. De nombreux jeux, exercices d’écoute, morceaux et compositions originales permettent d’acquérir un savoir-faire tout en s’amusant. Écouter – lire – jouer : trois éléments incontournables de la pratique musicale, trois concepts réunis dans une collection enrichissante et simple à utiliser.

Published 1978. First performance: Ann Cherry Jeremy Brown Purcell Room 7th February 1979.

Andrew D. Gordon world renowned music educator author of over 60 music educational products has previously written numerous books on Flute styles such as: ?100 Ultimate Blues Riffs for Flute? ?100 Ultimate Jazz Riffs for Flute? ?The Blues Scale for Flute? as well as another book that A.D.G. Productions publishes ?Ultimate Funk Grooves for Flute? authored by Ben Tompsett which have all been well received by students teachers and musicians all over the world.As playing funk styles is a passion of Andrew?s he has written this instructional book ?100Ultimate Soul Funk and R

The GCSE Performance Pieces series provides exciting contemporary repertoire levelled specifically for GCSE performance examinations accompanied by expert commentary to help your students prepare and achieve their potential with material they really want to play. Each book has been compiled by an experienced instrumental teacher/examiner and overseen by our Series Editor Andrew Coxon who is a senior GCSE examiner and an experienced classroom teacher. The songs have been carefully chosen to provide students with the best opportunity to show off their instrument and skills with a broad range of artists and styles to choose from. This book forFlute: is suitable for all exam boards contains ten songs with a range of difficulty appropriate for GCSE level is accompanied by a CD of professionally recorded backing tracks It includes songs by: Adele The Beatles The Mission Impossible theme Gershwin David Bowie Christina Perri Miles Davis Gerry Rafferty Pixie Lott Duke Ellington A YouTube playlist has been created containing all the songs in the book along with additional suggested listening such as interesting cover versions or other songs for cultural context allowing the student to explore ideas for their own interpretation.

for flute and piano- Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century Flute repertoire in the British Museum Library. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works forthe Flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Replaces the old edition HE35 from Hunt Edition. First published in Hamburg in 1888. In editing the Sonatinas Susan Milan has tidied some of the articulation making the Flute part consistent. Discrepancies between markings in the Flute and Piano part have been corrected. She has occasionally added some slurs where the lyrical nature of a section might be enhanced and staccati have been added where it appears to have been missing. On the whole expression marks have not been added or changed original markings.

Theobald Boehm was a goldsmith and inventor of the Boehm flute (1847). He was also an engineer, composer, industrialist, and the director of the Bavarian steel works. In addition, he was the solo flutist of the Bavarian State Opera, and a well-known soloist and teacher. He played many of his own compositions on the numerous tours he undertook in his lifetime. In writing these short pieces he gave us 24 miniature gems incorporating the difficulties we face daily while playing the flute. These études require a great deal of work but if practiced diligently you will acquire a great technique over the entire flute. This edition is edited by flute legend, Sir James Galway, complete with his phrasing and expression marks, and performance tips for each etude.