For Bb Cornet or Bb Trumpet with Piano accompaniment  Fantaisie was composed by Francis Thomé. Written for the Paris Conservatoire contest in 1902 this piece is very musical and quite challenging and would fit upper intermediate players. This piece can sound quite dramatic but is very melodious too and can be considered as an important addition to the repertoire for Trumpet and Cornet. Francis Thomé (1850-1909) was a French pianist and a composer. He wrote some operas some ballets some operettas and some pantomimes.

Ce sont les éditions françaises Robert Martin qui ont eu le privilège d'éditer la partition Angkor Thom, sib ou ut de Calmel Roger . Idéale pour les musiciens pratiquant Trompette ou Cornet et ayant un niveau proche de Cycle 2, cette pièce se classe dans la catégorie Classique sous la référence CALM01819. / Trompette / niveau : Cycle 2 / Partition

Jouer des vingt-cinq des plus grands succès blockbuster de 2006 avec cette collection fantastique, y compris les singles numéro un de Gnarls Barkley, Sandi Thom, Lily Allen et Shakira ainsi que des pistes massives de Justin Timberlake et The Killers. Chaque chanson est organisé pour Piano avec ligne de mélodie, paroles complètes et accords de guitare. Comprend un DVD gratuit pour vous pouvez jouer le jeu-questionnaire de musique Pop The Question ! / Piano/Vocal/Guitare (PVG) / 160 pages / Partition Dvd

This original work by Thom Sharp is an energetic adventure-themed rondo in which every section takes the lead heading off into the horizon looking for adventure. The rhythm of the A theme is used for new melodies in the contrasting sections, either in its original form or starting on a different beat to create a new, yet familiar, rhythm. The last iteration of the A melody employs augmentation. All of these devices provide ample opportunity for instructing students in form and structure and provide for efficient rehearsal time! (3:00) / Orchestre A Cordes

3 DVD soit 7 heures d'enregistrement avec Thomas Lang : méthode de batterie. / Batterie Et Percussions / niveau : Intermédiaire / Dvd

Buster B. Jones est une fingerpicker hot-rod dont les principales influences sont Merle Travis, Jerry Reed, Chet Atkins et Thom Bresh. Sur cette session en direct, Buster gère certains des instrumentaux de guitare sauvage et laineux qui ont vendangeurs en herbe en secouant la tête avec étonnement! Jouer son en nylon Godin cordes guitare électrique et son Drednaught acoustique, le natif de Virginie mène une démonstration fascinante de la guitare fingerpicking styles de ses héros. (A un moment, il joue dans les styles de Travis, Atkins et Reed - le tout dans une chanson) En utilisant le synthétiseur intégré à son Godin, il traverse une étonnante diversité de sons - sifflets, chanteuses, banjo, trompette, etc - chacun avec un morceau musical approprié.Jeu Buster a la sensation d'une session informelle de back-porche, offrant une heure de conversation amusante et guitare picking dynamique. Chansons comprennent Buster B. Boogie, Live At Five, Linus et Lucy, jus d'orange, Fingers In Flight, Wild Turkey, Doigts de Funky et deux duos chaud et lourd avec son mentor et ami, Thom Bresh. / Guitare

for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle

When 18th century British composer Thomas Arne included his song Rule Britannia! in a masque based on the life of Alfred the Great that was presented at Cliveden the country home of Frederick Prince of Wales he could nothave imagined that more than two hundred seventy years later his ditty would be known throughout the British Isles and beyond. Rule Britannia! is widely used in the Royal Navy and British Army and is featured each year at theLast Night of the Proms in the Royal Albert Hall as a national sing-along.At the time of writing the Dutch actually ‘ruled the waves ’ so this song was more an exhortation than a status report. The lyrics were also astatement of civil liberty. Since Cromwell’s time Britain had had a standing army which could be turned against the native population. A standing navy however existed solely to protect the nation from invaders protectinga free populace.Rule Britannia! has been quoted extensively by other composers among them Beethoven Wagner Strauss and Arthur Sullivan. Thomas Arne also penned a version of God Save The King which came to be the Britishnational anthem.This version is arranged by contemporary composer and friend Eaton Fanning who made changes to the famous semiquaver flourishes.

This is the first substantial collection ever published of songs by Virgil Thomson (1896-1989) composer of the operas The Mother of Us All and Four Saints in Three Acts. Thomson's musical style was based inAmericana but he was attracted to abstract poetry. The unique result is traditionalism turned on its ear. The songs date from 1926 until 1974.