Editeur : Paris, l'Auteur, Foucault, 1710Deux livres de très belles suites pour la flûte, sans grande difficulté, mais d'une sensibilité très délicate. - Présentation de : Philippe Lescat : Biographie de Michel De La BarreJean Saint-Arroman : l'agrémentation de Michel De La Barre - / Musique De Chambre, Flûte Et Basse Continue / 72 pages / niveau : 1 / Fac-Similés - Format: 16.5 X 24

for Piano and Orchestra. Par MOZART WOLFGANG AMADEUS. Concerto For Piano And Orchestra No. 22 E-flat major K. 482. Piano Solo, Flute, Clarinet (in B-flat) (2), Bassoon (2), Horn (2), Clarin trumpet (2), Kettledrum, Violin (2), Viola (2), Violoncello, Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart 's autograph manuscripts). At the same time, it also serves as an aid to authentic performances. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!/ Répertoire / Piano

KV271 'Jeunehomme'-Concerto For Piano And Orchestra No. 9 E-flat major K. 271 'Jeunehomme'.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances. The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Urtext Study Scores format 16.5 x 22.5cm are ideal for musical analysis rehearsalpurposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!

Jeunehomme-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologistsas well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Jeunehomme-Piano Concerto No.9 in E-Flat major K.271 - Jeunehomme.Piano Solo Oboe (2) Horn (2) Violin (2) Viola Violoncello Double bass.The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances.BÄRENREITER URTEXT:In the international music world ?Bärenreiter Urtext? is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which include prominent musicologistsas well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research.For Bärenreiter ?Urtext? is more than just a label it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer?s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

In this easy to intermediate arrangement a student pianist will become familiar with Schubert’s themes and changing tonalities to a certain extent and begin to open a window onto this delightful work.Schubert’s Piano Quintet inA Major written in 1819 and published after his death has unique sonorities due to its instrumentation: Piano Violin Viola Cello and Double Bass rather than the usual String quartet with Piano. It received its nickname fromits theme borrowed from a song that Schubert had written entitled The Trout.

Peter Maxwell Davies wrote this set of six short pieces in 1993 as a gift for a friend (a double bass player and composer from the BBC Philharmonic)who was celebrating the birth of his daughter. Despite the reason for writing thembeing most ‘occasional’ these pieces are certainly not lacking in musical substance as one might expect an ‘occasional’ piece to be. These pieces are ideal works for young performers to introduce them to playing modern music oreven as an introduction to the broad range of Maxwell Davies's work

Later Elementary Level-Description: This piece is a blues in ABA form with brief introduction and coda. The melody is built on a short melodic phrase: a riff. The bass part is a separate but related melodic phrase which becomes the important melody in the B section. Purpose: Introduction to the elements of the jazz styles of Duke Ellington Count Basie and Horace Silver: 1. Jazz inflection and phrasing 2. Varying riffs through simple variation and rhythmic displacement 3. Harmonic structure drawn from commonly used jazz harmonic patterns. Suggestions for Instruction: In m. 1-8 learn hands alone with special attention to double and grace notes. After learning one hand at a time it can be playedwith a teacher as a duet. In m. 12 RH double notes need special attention lifting the fifth finger on upper repeated notes while playing lower voices smoothly. In m. 13-20 learn to play the LH melody legato with RH chords detached. In m. 28-29 give special attention to rhythm and chord positions. Other Information After Blue Notes is memorized it will work well with rhythmic accompaniment or as a basis for improvisation. Key: F Major

 Dans mon quotidien d'enseignant, il arrive souvent que je donne un exemple 'improvisé sur le vif' à un élève, Je suis donc parti de ces exemples comme point de départ pour composer ces pièces, car je trouvais intéressant de pouvoir les interpréter dans un contexte plus musical qu'un simple exercice technique, 1, Mon moustique a un tic (durée 01'00'')Ce morceau permet une exécution sur une position de mains autour du do central, sans déplacements, Il permettra également de travailler le jeu legato, et l'indépendance des mains (lié/détaché) dans les mesures 9 à 12,Niveau : 1ère année, 2, Un crapaud sur le do (durée 0'45'')Ce titre demande un travail d'accords jusqu'à 4 sons à la main droite (timbre et poids des main/poignet/avant-bras), et d'indépendance pour conduire de 2 voix à la mesure 15, La main gauche quant à elle conduit le thème du début à la fin, avec une articulation marquée,Niveau : 2ème année, 3, Le rag du mulot (durée 1'00'')Retrouvons l'esprit du ragtime avec cette pièce qui propose une main gauche à la difficulté progressive : peu de déplacements au début, intervalles ne dépassant pas l'octave ensuite, et enfin double-notes alternées à une basse, La mélodie à la main droite doit s'accommoder des diverses liaisons et altérations accidentelles,Niveau : 3ème année, 4, Le reflet de la limace (durée 1'38'')Introduction avec une citation de la célèbre ' Lettre à Elise ', Le style s'éloigne tout de suite de Beethoven avec des harmonies plus modernes (souplesse du poignet de main gauche avec un index souvent utilisé comme pivot), une pédale de sustain omniprésente, et des changements de tonalité (jusqu'à 4 dièses), Le point d'orgue mesure 32, axe de symétrie de la pièce, marque le ' reflet ', C'est ainsi que des mesures 33 à la fin, la musique se ' rembobine ',Niveau : 6ème année, 5, La toile d'araignée (durée 4'10'')Dans cette pièce d'esthétique moderne, les changements de tempo, nuances et tonalités sont de mises, La main droite doit conduire 2 voix simultanément, et passer parfois la voix inférieure à la main gauche (mesure 20 par exemple), Le clavier est largement utilisé, dans l'aigu comme dans le grave, Appoggiatures et articulations précises (staccato, accents) enrichissement une musique rythmée et variée,Niveau : 7ème année,? / Piano

Quatre mouvements distincts représentent la merveille de cet état. Le Blue Ridge Parkway utilise octaves et accords riches pour créer un morceau majestueux qui dépeint la grandeur de la route panoramique. Appalachian Mountain colmatage imite la joie dans l'exécution de cette danse folklorique à travers une mélodie syncopée sur une ligne de basse régulière. Légende du Blowing Rock raconte une histoire à partir de malheur et se terminant dans la joie avec une mélodie lyrique et expressive passages en doubles croches. Phare du Cap Hatteras dépeint les dangers qui guettent les marins de son avertissement d'ouverture mystérieuse, de jeûner, les eaux turbulentes, et enfin à une mélodie lyrique représentant un port sûr. / Piano

France 1-This brand-new series is intended as a guide to the keyboard music of the 16th to 19th centuries for pupils of the piano and the harpsichord as well as of other early keyboard instruments. Each volume contains pieces by well-known and lesser-known composers from one country or region. The main purpose of the series is to extend the repertoire and stylistic knowledge of both pianists and harpsichordists while also presenting fine pieces and typical genres based on original sources. Our edition retains the performance indications of the composers' manuscripts and contemporary editions. Each volume includes:- suggestions for stylistically appropriate performance bothon the piano and on period instruments- suggested elaborated versions of some pieces and excerpts- a fold-out list of ornamentation signs and the composers' own tables of ornamentation signs- biographies of the composers and the sources of the pieces- translations of foreign-language performance indications. The two volumes devoted to French keyboard music includes close to 50 showy and relatively easy works - preludes dances suites rondeaux and character pieces - from the early 16th until the late 18th century (ordered chronologically).This publication is printed on high-quality age-resistant paper that is produced in an environmentally-friendly climate-neutral manner using renewable raw materials.