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Mark King
AUTOHARP
Flute and Piano
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Ros Stephen: Flute Globetrotters: Flute Duet: Instrumental Album
Flute and Piano
[Sheet music + CD]
Oxford University Press
Globetrotters for wind-Flute Globetrotters brings together 12 toe-tapping origin...
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Globetrotters for wind-Flute Globetrotters brings together 12 toe-tapping original tunes in styles from around the world - from Arabic to Chinese and from klezmer to the Argentinian tango - for the budding flautist. This unique book presents a kaleidoscope of musical traditions with supporting information and backing tracks that capture each sound-world. To help with technique and interpretation every piece includes warm-ups and stylistic tips from the authors. With options for flute or piano accompaniment and an inspirational CD Flute Globetrotters is the ultimate resource for those looking to go travellin' ...12 fun pieces in styles from around theworldSuitable for young flautists everywhere (2 years' experience/grades 2-4)Range of styles including bossa nova blues South African Nordic and IndianFascinating background information and tailored warm-upsIncludes flute accompaniments for a teacher or more experienced pupil and piano accompaniments with guitar chordsCD with performances and backings for every piece recorded by renowned world-music performers
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Mark Tanner: Flute Pastilles Grades 1-3 Vol.1: Flute: Instrumental Album
Flute and Piano
[Sheet music]
Spartan Press
With Plenty To Chew On-Seven concert pieces including 'Carmina Banana' and other...
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With Plenty To Chew On-Seven concert pieces including 'Carmina Banana' and other favourites!When I began putting together a few piano pieces back in 2007 I didn't imagine they would quickly spawn a thriving eleven-volume series entitled Eye-Tunes taking players from 'easy' to grade 8 level. Nor did I imagine these might trigger a further five volumes of arrangements for flute and piano two called Creature Comforts (which predictably enough are comprised of animal-inspired pieces) or indeed the three volumes in this current series Flute Pastilles. While it goes without saying that not all pieces conceived for piano will work equally well for the combination of flute andpiano I'm a great believer that a good tune is frequently one which will transcribe easily. I like to think of these cherry-picked arrangements concise though they are as being 'proper' pieces in that they can earn their keep beyond the confines of the practice room or flute lesson. From Book 1 you will find a sprinkling of more thoughtful pieces such as Wind over Goonhilly Forget-Me-Not and Follow the North Star to offset the more jaunty pieces. These in particular call for a little extra attention to tone colour dynamics and phrase-shaping with some awareness of what the piano part is doing too. Think hard about choosing your tempo for each piece as this is a major contributor to musical character and in the faster moving music aim to articulate the rhythms as crisply as you can so that the music can really spring off the page and come to life for your audience.I must acknowledge as before the inestimable contribution to the success of these pieces made by Gillian Poznansky whose suggestions over the appearance of the scores has made such a difference to how the music is likely to be played. She also came up with a fair number of the titles to these pieces and has done them further service by performing them with me to great aplomb on innumerable occasions in far-flung corners of the globe.
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Wilhelm Popp: Sonatine Op. 388 Nr. 3: Flute: Instrumental Work
Flute and Piano
[Sheet music]
Spartan Press
For Flute and Piano-Wilhelm Popp studied with the great Louis Drouet in the 1850...
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For Flute and Piano-Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. 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 aperfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'
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Wilhelm Popp: Wilhelm Popp Sonatine Op. 388 No 2: Flute: Score
Flute and Piano
[Sheet music]
Spartan Press
Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19t...
(+)
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 for the flute thisamong them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. 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. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'
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Wilhelm Popp: Sonatine Op. 388 No. 5: Flute: Score
Flute and Piano
[Sheet music]
Spartan Press
Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19t...
(+)
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 1850's and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition.SusanMilan writes....'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. 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. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'
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Wilhelm Popp: Sonatine op. 388 No. 4: Flute: Score
Flute and Piano
[Sheet music]
Spartan Press
Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19t...
(+)
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 for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition.SusanMilan writes....'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. 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. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'
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Pièces Célèbres pour Flûte et Piano Vol. 2: Flute: Instrumental Album
Flute and Piano
[Score and Parts]
Leduc, Alphonse
Facile et Moyenne - 'Les Classiques De la Flûte'-French composers Gaubert M...
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Facile et Moyenne - 'Les Classiques De la Flûte'-French composers Gaubert Moyse and Caratgé compile an essential addition to the Flute repertoire. Including pieces by Lully Campra Bach Handel Gluck Haydn Boccherini and Schumann Gaubert Moyse and Caratgé ensure that a range of famous works are accessible to beginner to intermediate flautists. In the second volume of this compilation Famous Pieces for Flute and Piano Gaubert Moyse and Caratgé arrange famous works by the great preceding composers for the Flute ensuring that necessary additions and edits are made. Pieces include movements from Lully's King'sBallets and a Boccherini Menuet. The changes by Gaubert Moyse and Caratgé include phrasing breath marks tempo marks dynamics and other performance directions. Famous Pieces for Flute and Piano provides excellent expansion to the repertoire of the beginner to intermediate flautist.
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Gabriel Grovlez: Sérénade: Flute: Instrumental Album
Flute and Piano
[Sheet music]
-
Intermediate/advanced
Spartan Press
From Fancies Pour Piano-This Sérénade is the first of 7 pieces collectively ...
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From Fancies Pour Piano-This Sérénade is the first of 7 pieces collectively called 'Fancies' originally written for piano in 1915.Gabriel Marie Grovlez (1879-1944) was born in Lille Northern France in 1879 and died in war-torn Paris in 1944. From among his teachers who include Gédalge and Lavignac Fauré must surely rank as his strongest influence and this is readily heard in his small but significant oeuvre of solo piano pieces as well as his music for stage and chamber ensembles. Interestingly most of the piano music was published over a period of around a dozen years (1907-1919) and in the lull between these works and his Impressions (two pieces) of 1934 Grovlez wascompositionally preoccupied with songs and chamber pieces many of which languish patiently on the shelf awaiting a wholehearted appraisal. There is as well as his notable penchant for elegance and poetical lyricism a considerable wit to enjoy too (take Les nes The Donkeys from L'Almanach aux images for example) and indeed the fact that Grovlez's middle years were spent fulfilling the duties of assistant conductor and choir leader of the Opéra-Comique seems especially revealing of the man's musical personality and capacity for successfully intertwining serious and less serious genres.Grovlez was quite a cosmopolitan character; besides making a notable mark in his native country (he was latterly a professor of chamber music at the Paris Conservatoire) he travelled to the United States and Africa as well as across Europe. Although we tend to remember Grovlez today for his influence primarily as a composer in the mould of Fauré or Debussy bringing a quirky quality to some of his writing more than occasionally reminiscent of Poulenc it was as a conductor that Grovlez initially made an impact. Moreover we should not overlook the fact that he gave the inaugural performances of some highly treasured works by the likes of Ravel (Ma Mère l'Oye) and Fauré (Dolly Suite) a piano duet which has earned an especially important
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Jacques Ibert: Histoires: Flute: Instrumental Work
Flute and Piano
Leduc, Alphonse
Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking up...
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Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. Histoires increased his popularity when it was published in the mid-1920s and Marcel Moyse (1889-1984) a prominent French flautist arranged the compilation for Flute and Piano in 1933 to great acclaim. Histoires for Flute and Piano is made up of six movements; 1) The Leader of the Gold Turtles 2) The Little White Donkey 3) In the Sad House 4) The Crystal Cage 5) The Market of Fresh Water and 6) The Procession of Balkis. Containing a variety of musical aspects and techniques Moyse's arrangement for Flute and Piano of Ibert's Histoires is an exciting addition to the intermediate level flautist's repertoire.
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Jules Massenet: Méditation de Thaïs pour Flûte et Piano: Flute: Instrumental
Flute and Piano
[Sheet music]
Heugel
The instantly recognisable and ever-popular Méditation from the opera Thaïs b...
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The instantly recognisable and ever-popular Méditation from the opera Thaïs by Jules Massenet (1842-1912) remains a strong favourite in the classical repertoire superbly arranged for Flute and Piano by French flautist Paul Taffanel. Massenet first studied music with his mother before entering the Paris Conservatoire. He is best known for his operas of which he composed over thirty. Thaïs was first performed at the Opéra Garnier in Paris in 1894 and continues to be one of the composer's most performed operas. The famous Méditation isan intermezzo originally for Violin and Orchestra which has since been arranged for many different instruments making it a frequent concert piece. The arrangement for Flute and Piano remains in the original key of D major and displays the passionate religious intentions. Taffanel's adaptions include breath marks phrasing changing octaves for some notes and articulation among other aspects. Massenet's Méditation is challenging through its use of lyricism in the upper register yet it remains a favoured and popular piece in the Flute's repertoire.
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Thais Meditation Flûte Et Piano (MASSENET JULES)
Flute and Piano
[Sheet music]
Heugel
Par MASSENET JULES. The instantly recognisable and ever-popular Meditation, from...
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Par MASSENET JULES. The instantly recognisable and ever-popular Meditation, from the opera Thaï s by Jules Massenet (1842-1912), remains a strong favourite in the classical repertoire, superbly arranged for Flute and Piano by French flautist, Paul Taffanel. Massenet first studied music with his mother before entering the Paris Conservatoire. He is best known for his operas, of which he composed over thirty. Thaï s was first performed at the Opera Garnier in Paris in 1894 and continues to be one of the composer's most performed operas. The famous Meditation, isan intermezzo, originally for Violin and Orchestra, which has since been arranged for many different instruments, making it a frequent concert piece. The arrangement for Flute and Piano remains in the original key of D major and displays the passionate religious intentions. Taffanel 's adaptions include breath marks, phrasing, changing octaves for some notes and articulation, among other aspects. Massenet 's Meditation is challenging through its use of lyricism in the upper register, yet it remains a favoured and popular piece in the Flute's repertoire. / Opéra-opérette / Répertoire / Flûte Traversière et Piano
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The Boosey Woodwind Method Vol.1+2
Flute and Piano
[Sheet music + CD]
Boosey and Hawkes
Le bois Boosey et la méthode de laiton répond aux exigences nouvelles et chang...
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Le bois Boosey et la méthode de laiton répond aux exigences nouvelles et changeantes dans l'enseignement : il contribue à rendre individuel et en groupe enseignement plus facile, plus intégrée et plus efficaces. Le bois Boosey et la méthode de laiton fournit tout ce dont vous avez besoin pour l'enseignement de la musique par le biais de l'instrument. Son approche unique développe des compétences générales musicales grâce à un programme de qualité solo et ensemble de musique, des activités supplémentaires et un CD audio y compris les activités de l'écoute. Parce que la méthode est basée sur un programme clair, elle fournit un système facile à utiliser pour l'enseignement et toutes les ressources souples, que vous avez besoin pour chaque situation, si individuel, groupe ou mixte d'enseignement de l'instrument. Cette série offre un programme d'enseignement instrumental tandis que le développement technique et musicalité. / Flûte Traversière Et Piano
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