| Flute quintet in F major (Op. 41/3) Flute and String Quartet [Score and Parts] Edition HH
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two violas, violoncello. Score and parts. 91 pages. Published by Edition HH Music Publishers
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| Flute quintet in E minor (Op. 41/1) Flute and String Quartet [Score and Parts] Edition HH
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two violas, violoncello. Score and parts. 68 pages. Published by Edition HH Music Publishers
$26.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Flute quintet in D major (Op. 41/2) Flute and String Quartet [Score and Parts] Edition HH
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two violas, violoncello. Score and parts. 96 pages. Published by Edition HH Music Publishers
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| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (CF.O88X). ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches. These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within. IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two flute concertos ('Il Gran Mogol' RV431a and RV431) Flute and Piano [Reduction] Edition HH
By Antonio Vivaldi (1678-1741). Edited by Andrew Woolley. For flute and keyboard...(+)
By Antonio Vivaldi (1678-1741). Edited by Andrew Woolley. For flute and keyboard. Keyboard reduction and solo part. Published by Edition HH Music Publishers
$25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Two flute concertos ('Il Gran Mogol' RV431a and RV431) Flute and Piano [Score] Edition HH
Composed by Antonio Vivaldi (1678-1741). Edited by Andrew Wooley. For Flute, str...(+)
Composed by Antonio Vivaldi (1678-1741). Edited by Andrew Wooley. For Flute, strings and basso continuo. Full score. 30(xvii) pages. Duration 9 minutes (2x). Published by Edition HH Music Publishers
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| Trevor Wye - Practice Book for the Flute: Books 1-6 Flute [Sheet music + CD] Novello & Co Ltd.
(Omnibus CD Edition). For Flute. Music Sales America. Softcover with CD. Novello...(+)
(Omnibus CD Edition). For Flute. Music Sales America. Softcover with CD. Novello and Co Ltd. #NOV164967. Published by Novello and Co Ltd.
$39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mazurka de Salon Flute and Piano [Sheet music] - Intermediate/advanced Schott
Flute and Piano. Composed by Albert Franz Doppler (1821-1883). Edited by ...(+)
Flute and Piano. Composed by Albert Franz Doppler (1821-1883). Edited by Stefan Albrecht. Woodwind Solo. Softcover. 14 pages. Schott Music #FTR226. Published by Schott Music (HL.49045103).
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| Paul Taffanel/Philippe Gaubert - 24 Progressive Studies in All Keys on the Principal Difficulties Flute [Sheet music] Schott
(Flute). By Paul Taffanel (1844-1908) and Philippe Gaubert (1879-1941). Edited b...(+)
(Flute). By Paul Taffanel (1844-1908) and Philippe Gaubert (1879-1941). Edited by Stefan Albrecht. For Flute. Schott. Softcover. 36 pages. Schott Music #ED21079. Published by Schott Music
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| Mozart: Symphony No 39 Flute Trio: 3 flutes [Score and Parts] Edition HH
By Wolfgang Amade Mozart. Edited by Christopher Hogwood. For Three flutes. Full ...(+)
By Wolfgang Amade Mozart. Edited by Christopher Hogwood. For Three flutes. Full score and parts. Published by Edition HH Music Publishers (U.K. Import).
$37.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Divertimento Giocoso Flute 2 Solo - Intermediate Schott
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra (V...(+)
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra (V2) - intermediate SKU: HL.49002061 Composed by Harald Genzmer. Sheet music. Concertino (Chamber Orchestra). Classical. Solo Part. Composed 1960. 4 pages. Duration 13'. Schott Music #CON 61-02. Published by Schott Music (HL.49002061). ISBN 9790001022156. The 'Divertimento giocoso' by Harald Genzmer created in 1960 is scored for two woodwind instruments (flutes, recorders or transverse flute and oboe) as solo instruments opposed to the string orchestra. The composer, whose work suits the amateur music-making very much in many respects, succeeded in creating a tonal arrangement that is individual in style. In the first movement, this rhythmically very lively, thematically clearly visible and harmonically inter-esting though not revolutionary work presents the strings and the solo instruments often enter-ing canonically with an easily remembered -seventh motif; in the second movement, it leads a melody dying away a long time to a dynamic climax, adds harmonic cross relations to a scherzo moving in dance style and closes with a lively vivace movement. (Das Liebhaber-orchester). $7.99 - See more - Buy online | | |
| Divertimento Giocoso Flute 1 Solo - Intermediate Schott
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra (V...(+)
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra (V1) - intermediate SKU: HL.49002060 Composed by Harald Genzmer. Sheet music. Concertino (Chamber Orchestra). Classical. Solo Part. Composed 1960. 7 pages. Duration 13'. Schott Music #CON 61-01. Published by Schott Music (HL.49002060). ISBN 9790001022149. The 'Divertimento giocoso' by Harald Genzmer created in 1960 is scored for two woodwind instruments (flutes, recorders or transverse flute and oboe) as solo instruments opposed to the string orchestra. The composer, whose work suits the amateur music-making very much in many respects, succeeded in creating a tonal arrangement that is individual in style. In the first movement, this rhythmically very lively, thematically clearly visible and harmonically inter-esting though not revolutionary work presents the strings and the solo instruments often enter-ing canonically with an easily remembered -seventh motif; in the second movement, it leads a melody dying away a long time to a dynamic climax, adds harmonic cross relations to a scherzo moving in dance style and closes with a lively vivace movement. (Das Liebhaber-orchester). $7.99 - See more - Buy online | | |
| The Flutist's Handbook Carl Fischer
Chamber Music Flute(s) SKU: CF.WF230 The Art of Staying in Shape. ...(+)
Chamber Music Flute(s) SKU: CF.WF230 The Art of Staying in Shape. Composed by Robert Stallman. With Standard notation. 144 pages. Carl Fischer Music #WF230. Published by Carl Fischer Music (CF.WF230). ISBN 9781491153741. UPC: 680160911240. Ever since he was honored 50 years ago as a top prize-winning graduate of New England Conservatory and a Fulbright scholar at the Paris Conservatoire, flutist Robert Stallman has drawn accolades around the world as a performer and recording artist who “dazzles because of his penetrating artistry†(Sunday Times/London). Also known internationally for superior flute editions, including numerous transcriptions that have greatly expanded the repertoire, Stallman now offers flutists an appealing collection of original melodic warm-ups. With The Flutist’s Handbook, he shares his fresh approach to staying in shape and maintaining his reputation for “consummate virtuosity†(Repertoire/France). PrefaceOne morning many years ago I opened my flute case and suddenly found myself questioning the wisdom of having scales and long tones come first in my practice session. Of course, these are essential to daily practice, but I wondered if there might be a better way to begin the day—with something more melodic and engaging, something to really inspire me.The Flutist’s Handbook emerged from a stream of musical ideas I began to jot down during practice sessions after that “aha†moment. As I worked with them, I noticed a more spontaneous interest in practicing. In fact I even looked forward to starting my day this way. As a result, my work on scales, arpeggios and long tones followed with more enjoyment and focused attention.In creating many of the détaché warm-ups found in Part I, I was drawn to the musical sequences of J. S. Bach, particularly those developed in his keyboard works. Bach had discovered the most satisfying musical patterns on which to build his music, so here was a treasure trove of invigorating melodic material. I also borrowed apt détaché passages from C.P.E. Bach, Schubert, Dvořák and others.Part II includes more musical quodlibets and echos in a collection of fifteen short melodies designed to open and center the tone, while encouraging full breath support. These melodies also concentrate on developing our sostenuto, or true legato playing—the foundation of a beautiful sonority and natural vocal expression. Except for final cadence notes, these warm-ups should be practiced without vibrato, to create an even and seamless instrument, bottom to top.All of these warm-ups are to be played forte and piano in every major key, proceeding chromatically by rising half-steps. Tempo indications are given in the headings, as are optional rhythmic and articulation variants. Suggested breath marks are in parentheses.The Handbook opens with détaché warm-ups for a good reason. It is vital to begin our practice with tonguing, as a clean attack is essential to producing a beautiful tone. Also, in working on tonguing (single, double, triple and tremolando) we stimulate and strengthen the jaw muscles that support the embouchure (which must remain supple and flexible). As we fine-tune these muscles, we gain tonal center and clarity, qualities that may elude us at the beginning of our practice. Of course, we also need to wake up the air stream and deepen our breath support. Once the tongue is alive and the tone is centered, we are ready to work further on our sonority with the melodic warm-ups in Part II.This book is meant for professionals, students and amateur flutists alike. I offer it to all as a companion that invites more pleasure and vitality into our daily practice. It is my firm belief that by aligning ourselves with our love of music and its energizing patterns each day—from the very first moment we pick up the instrument—we will bring more ease and focus into our lifelong task of staying in shape. This in turn will support the heightened inspiration we want to take into rehearsals and performances. Enjoy!—Robert StallmanMarblehead, MassachusettsApril 20, 2018. $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violet Air Flute Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144404560 For Solo Flute. Composed ...(+)
Chamber Music Flute(s) SKU: PR.144404560 For Solo Flute. Composed by Robert Martin. Classical. Solo part. With Standard notation. Composed 2002. Duration 7 minutes. Theodore Presser Company #144-40456. Published by Theodore Presser Company (PR.144404560). UPC: 680160030880. A performing edition based on the 1821 Meisonnier edition of A.H. Varlet's arrangement. Recorded by Michael Newman and Laura Oltman on Musicmasters and Music Heritage Society CD, LP and cassette A Night at the Opera. For college, conservatory, professional, amateur. Medium. $10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 24 Studies, Op. 15 Flute Schott
(Flute Solo). Composed by Karl Joachim Andersen (1847-1909). Edited by Stefan Al...(+)
(Flute Solo). Composed by Karl Joachim Andersen (1847-1909). Edited by Stefan Albrecht. For Flute. Woodwind Solo. Schott Music #ED22130. Published by Schott Music
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Winter Shadows Flute, Violin, Guitar Theodore Presser Co.
Chamber Music Flute, Guitar, Violin SKU: PR.144404050 Composed by Robert ...(+)
Chamber Music Flute, Guitar, Violin SKU: PR.144404050 Composed by Robert Martin. Christmas and Holiday. Set of Score and Parts. With Standard notation. Composed 1998. 12+8+8+8 pages. Duration 8 minutes, 45 seconds. Theodore Presser Company #144-40405. Published by Theodore Presser Company (PR.144404050). UPC: 680160030187. Adapted from 5 DIVERTIMENTIE.439b for 2 clarinets & bassoon, this unforced, idiomatic arrangement by Frederick Hand is a splendid addition to the flute/guitar repertoire. About 19 1/2 min. For college, conservatory, professional, amateur. Medium. $31.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto for Flute, Strings and Basso RV431A Ricordi
Basso Continuo; Flute; Strings (Parts) SKU: HL.50601269 Set of Parts(+)
Basso Continuo; Flute; Strings (Parts) SKU: HL.50601269 Set of Parts. Composed by Antonio Vivaldi. Woodwind Solo. Classical. Softcover. Ricordi #NR141651. Published by Ricordi (HL.50601269). UPC: 888680745554. 8.0x10.5x0.435 inches. Among Vivaldi's many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted in autograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction Grave sopra il libro replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled Il gran Mogol suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a Larghetto that is very possibly identical with the one missing in RV 431. This Gran Mogol, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as part of a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this setin detail. It is very likely that RV 431 and RV 432 belonged to this group of works, the last known collection of its kind in Vivaldis oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. $38.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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