Le plomb est une série intégrée pour saxophone alto, clarinette, flûte, piano, saxophone ténor, trompette et violon. Dans chaque édition, toutes les chansons sont dans la même clé au concert pitch, permettant aux différents instruments à jouer ensemble. Symboles de corde sont inclus au concert pitch pour utilisation par piano ou de la guitare. ' Take the Lead Smash Hits ' contient des arrangements de hits graphique qui englobe une vaste gamme de chansons dans une variété de styles dont les hits de Westlife, Nelly Furtado Christina Aguilera et entendre dire. Il s'agit d'une excellente occasion pour les jeunes joueurs à jouer leurs hits graphique préférée, fournissant le répertoire de l'excellent concert ainsi qu'en encourageant la progression de la technique. Avec un choix de sauvegarde de CD accompagnement ou en jouant avec guitare ou piano ' Prendre les devants ' offre une flexibilité ultime fois enseignant et les étudiants. Table des matières : Je suis comme un oiseau - il pleut hommes - Lady marmelade - hors de portée - il vous serez - Uptown Girl - la façon de votre amour - tout nouveau/ Recueil / Flûte Traversière et Piano

Building on the success of his Sonatine de Giverny for piccolo (114-41088), Daniel Dorff gives us FLASH!, the much-anticipated sequel. This piece hits the ground running and keeps up a flashy, quick pace, allowing players to show off their chops with plenty of jazzy flourishes. FLASH! has already been programmed for performances by piccolo legend Walfrid Kujala. It will also be performed by young virtuoso Kate Prestia-Schaub at the 2009 National Flute Association convention and the 2009 International Piccolo Symposium. For the advanced player. Duration: 6'30

Par OGAWA TAKASHI. / Niveau : Avancé / Répertoire / Guitare et Flûte Traversière

Par OGAWA TAKASHI. / Niveau : Facile / Contemporain / Date parution : 2004-07-01/ Répertoire / Flûte Traversière et Piano

Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la partition qui a pour titre Concerto flash no 10 du compositeur Naulais Jérôme a été cataloguée sous la référence FP 1167 par l'éditeur. Cette oeuvre est écrite pour Flûte Traversière. En 3 clics et quelques jours elle peut être chez vous. / Flûte Et Piano / Partition

Discover the Lead on these Smash Hits. The book contains carefully selected and edited arrangments, with chord symbols in concert pitch. The accompanying CD includes full backing tracks, and demonstration recordings to help you learn the songs. Includes Anything Is Possible (Will Young), Just A Little (Liberty X) and One Step Closer (S Club Juniors). Suitable for players grade 1-2 standard. / Pop & rock / Recueil / Flûte Traversière et Piano

Par UEBAYASHI YUKO. Contemporary Japanese composer, Yuko Uebayashi moved to Paris in 1998. Uebayashi 's works have been met with much success in both Japan and France, Au Delà Du Temps for 2 Flutes and Piano being no exception. Flautist, Jean Ferrandis described Uebayashi 's music as 'gems that, although they are so different, they yet belong to the same world, a world of vivacity, dreams, tenderness, humour, and one that is subtly contradicted by vehemence, virtuosity, melancholy and sorrow. ' Au Delà Du Temps contains four movements; 1) The distant light of the night, 2) Thedancing light, 3) The white light, and 4) The rotating light in the dream. Au Delà Du Temps is modern in style, exploiting tonality, rhythm and the ensemble. A typical performance lasts about 18 minutes. Uebayashi 's Au Delà Du Temps for 2 Flutes and Piano is a sublime addition to the ensemble repertoire./ Répertoire / 2 Flûtes Traversières et Piano

Par DASHNER LONG PAIGE. Bach to the Fluture for Flute Choir by Paige Dashner Long. In three movements: Sebastian Sheep, Big Eoin Kisses the Blarney Stone, and Johnny B. Bach. Can also be performed with a low flute choir, substituting Alto Flute for each of the C Flute parts using the parts provided. / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Par SUZUKI SHINICHI. The accompaniment CD for the book method. Volumes 3 and 4 are performed by Kenji Yamashita, volume 5 by Toshio Takahashi. / Pédagogie / Accessoire / Flûte Traversière

Un haïku est un court poème japonais, structuré dans une forme en triptyque de 5, 7 et 5 syllabes. Il est traditionnellement gravé sur une pierre, se lit, mais ne se prononce pas, ouvrant ainsi l’esprit à la méditation, à partir de l’évocation de mots simples, faisant souvent référence à la nature, provoquant des sensations de spontanéité et de légèreté… Ces 11 haïkus sont inspirés de l’œuvre de Matsuo Bashô (1644-1694), poète japonais. Sans vouloir décrire le sens précis, souvent impalpable, j’ai voulu traduire musicalement les sensations ressenties lors des lectures de ces poèmes. Dimitri Tchesnokov / Flûte traversière / Billaudot

Par UEBAYASHI YUKO. / Niveau : Intermédiaire / classique / Répertoire / Flûte Traversière Solo

3 Pieces - Konomekaze, Ayunokaze, Soyokaze. Par TERASHIMA HIROKI. 3 Pieces - Konomekaze, Ayunokaze, Soyokaze/ Répertoire / Flûte Traversière

Flötensonate mit konzertierendem Cembalo. Par QUANTZ JOHANN JOACHIM. Johann Joachim Quantz was born in Oberscheden near Hanover on 30th January, 1697 and died on 12th July, 1773, the highly esteemed court composer and chamber musician to King Frededck II of Prussia. His life's work was based on the fute. He taught the fute, which was to be become the fashionable instrument of the time, to the young Crown Prince, later King of Prussia. The present sonata is based on a manuscript in the Lower Saxony State and University Libraty at Göttingen. It deserves prominence amongst the more than 100 fute compositions by QUANTZ not least on account of its instrumentation of flute with accompanying cembalo, which places it in efectively pleasant contrast tothe bulk of QUANTZ's fute sonatas with thorough-bass accompaniment./ Répertoire / Flûte Traversière et Clavecin Concertant

It was in 1990 - more than 250 years after the publication of 'Il Pastor Fido' - that the masterful forgery was exposed: not Antonio Vivaldi but in fact the French composer Nicolas Chédeville (1705-1782) turned out to be the true author of this sonata collection, which was subtly foisted upon the unsuspecting Parisian public in the middle of the 18th Century, at the height of Vivaldi's popularity in France. Vivaldi himself never came to know anything of the misuse of his name and musical intellectual property.'Il Pastor Fido' offers a 'Mélange' of very simple, movements and gallantries in the French style, as well as some throughout original movements of exceptionally fine music and powerful compositional ideas. Approximately ninety percent of 'Il Pastor Fido? is Chédeville's own work - for the remainder, he adopted and built upon themes (or those which he thought to be) by Vivaldi, all the while demonstrating a thorough understanding of the style that he was striving to imitate.As with all of Chédeville's other works and numerous other collections from the time, the original title mentions a series of instruments, all of which are suitable for performing these sonatas: the musette, hurdy-gurdy, flute, oboe and violin. Whilst the first two, which were popular instruments at the time and corresponded to the Arcadian sensibilities of the Age of Enlightenment, have long since been out of fashion, the flute is particularly well suited today to reflect the pastoral character - noted in the title of the collection ('Il Pastor Fido?: the Faithful Shepherd) - of the music.The Bärenreiter Urtext edition was edited by the reputable Vivaldi scholar and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German / English), which not only tells the enthralling story of the forgery and reveals the 'ingredients? required for such a composition. It also contains inspiring information on performance practice, whilst presenting a critical report with references to readings and editorial decisions. / Flûte (ou Hautbois, Violon) Et Basse Continue

Score and parts for Saariaho's Cendres , arranged for Alto Flute, Cello and Piano. Quoting Saariaho: While writing Cendres , I was mainly concentrating on the interpretation of particular musical ideas by the three different instruments of the trio, each of which has its unique character and palette of colours. Musical tension is created and regulated by sometimes bringing the instruments as close together as possible in all ways (pitch, rhythm, dynamics, articulation, colour etc.), or, at the other extreme, letting each of them express the music in their most idiomatic fashion. Between these two extremes there is an unlimited number of possible ways to create more or less homogenous musical situations. The consciousness of this variety was the rope on which I was balancing whilst working on the piece. Cendres was commissioned by the Gesellschaft fur Neue Musik Ruhr and Kulturbüro der Stadt Essen for the Wolpe Trio. Duration 10 minutes. / Violoncelle, Flûte Et Piano