Apprenez à jouer 15 favoris de la Great White Way avec cette collection passionnante de Hits Broadway pour saxophone alto de la Hal Leonard Instrumental Play-along série.Caractéristiques arrangements solos de saxophone Alto de chansons telles que: Backwoods Barbie - Breathe - Expressing Yourself - Find Your Grail - Follow Your Heart - Ireland - Mama Who Bore Me / Flûte

This series offers a versatile selection of music for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, and cello. Each book contains carefully edited arrangements appropriate to each instrument, and is well suited for level 2-3 students. The CD includes a fully orchestrated demo track of each song, which features a live instrumental solo performance, followed by a play-along track. Also included are PDFs of piano accompaniments, and Alfred's Tempo Changer Software. / Flûte

Par CAFOLLA ROMA. A modern interpretation of the ancient Dance Suite. Virtuosic writing for the soloist. As a child I was privileged to be introduced to these dances by Ms Watson my ballet teacher. She was an immense talent and explained the nuances and intricacies with care and passion for the subject. 1. Prelude (Allegro) - The introduction to the suite. 2. Allemande (Moderato con moto) An elaborate court dance popular in the 16th century. It is usually followed by the Courante. 3. Courante (Allegro delicato) A dance of french origin. The name is derived from the french word courir to run. Typically in triple time, it features a short up beat. Staccato in nature and lively in performance. 4. Sarabande (Grave patetico) A slow courtly dance in triple time oftenfollowed by a Gigue. 5. Gigue (Vivace Leggiero) A lively baroque dance originating from the Irish jig and imported into France in the mid 17th century. It usually appears at the end of a suite. / Niveau : Intermédiaire à Avancé / Répertoire / Flûte Traversière et Piano

Arrangeur: Jennifer Seubel. Par SMETANA BEDRICH. Following the “Carnival of the Animals� edition, Jennifer Seubel has now set her sights on the “Moldau�. The major stopping points in the course of the music have been insightfully and faithfully translated for two flutes. Here advanced students will find beautiful music to play which also contains some small challenges. The arrangement follows the original work with the movements “The First and the Second Source of the Vltava�, “Forest – Hunting�, “Village Wedding�, Moonlight – Nymph's Dance�, “The Vltava's Broad Stream – Vyšehrad-Motiv�. Convincing arrangement of highlights from the Moldau Two flute parts of equal importance Excellent forrecitals Ideal for advanced students/ Répertoire / 2 Flûtes Traversières

Par MAGALIF EUGENE. Ave Maria for Flute Choir by Eugene Magalif. From the composer: 'The creation of a new Ave Maria requires a certain amount of courage from composers. There are many versions of Ave Maria in the world and it is very risky to compete with Schubert, Bach or Caccini (Vavilov). I did not begin to compose another aria, but composed a polyphonic version, in which the intertwining voices, harmony, unusual rhythm changes and a wide palette of shades play the main role. My Ave Maria turned out to be very unusual, but if you follow my instructions of tempo, dynamic shades, perform it very gently and without forcing the sound, then the piece will show its beauty.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Par CHRISTIANSEN COREY. Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltrane's career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltrane's bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques. Then the text presents numerous one-, two-, and three-measure jazz lines in Coltrane's style grouped by the harmony over which they can be used. The accompanying play-along CD provides the rhythm parts for each section, including a track for each section that modulates through the cycle of fourths, helping you master the phrases in all keys. By combining various lines, musicians will be able to mix and match numerous combinations of these lines to play over ii-V-I progressions, turnarounds, and other harmonic situations. Incorporate these essential jazz lines into your vocabulary and you will be able to create your own lines in the style of John Coltrane / Niveau : Intermédiaire / Jazz - Improvisation / Recueil / Flûte Traversière

Golden Slumbers Across The Universe All My Loving All You Need Is Love Revolution I Will And I Love Her It's Only Love Tell Me Why Julia Back In The U.S.S.R. Because Come Together The Ballad Of John And Yoko Girl She's A Woman It Won't Be Long Birthday Blackbird Every Little Thing Yesterday In My Life The Word Something Can't Buy Me Love Octopus's Garden A Day In The Life Day Tripper Dear Prudence Do You Want To Know A Secret' Drive My Car I Want To Hold Your Hand Eight Days A Week Eleanor Rigby Run For Your Life The Fool On The Hill From Me To You Get Back Good Day Sunshine Got To Get You Into My Life A Hard Day's Night Hello, Goodbye Help! Helter Skelter Here Comes The Sun Here, There And Everywhere Hey Jude I Am The Walrus I Feel Fine I Saw Her Standing There I Should Have Known Better I'll Cry Instead I'll Follow The Sun I'm A Loser I'm Happy Just To Dance With You I've Just Seen A Face If I Fell Lady Madonna Let It Be The Long And Winding Road Love Me Do Lucy In The Sky With Diamonds Magical Mystery Tour Martha My Dear Michelle No Reply Norwegian Wood (This Bird Has Flown) Nowhere Man Ob-La-Di, Ob-La-Da P.S. I Love You Paperback Writer Penny Lane Please Please Me Sgt. Pepper's Lonely Hearts Club Band She Loves You Strawberry Fields Forever Thank You Girl Things We Said Today This Boy (Ringo's Theme) Ticket To Ride Twist And Shout We Can Work It Out When I'm Sixty-Four While My Guitar Gently Weeps With A Little Help From My Friends Yellow Submarine Yes It Is You Can't Do That You Won't See Me You're Going To Lose That Girl You've Got To Hide Your Love Away Your Mother Should Know

Studies & Pieces. Par DEHNHARD TILMANN. After Tilmann Dehnhard's award-winning 'The New Flute' was published, it was soon clear that a demand existed for further study material and concert pieces for flutebeatboxing. 'Flutebeatboxing - Studies and Pieces' is a follow-up to the fundamentals and basic techniques explained and demonstrated in 'The New Flute'. Beginning with easy exercises (bronze level) for mastering the basic, individual beatboxing sounds, these compositions progress through to concert level (Platinum). Together with four concert studies, familiar favourites are included: Summertime, Billie Jean, Black or White and Badinerie by J. S. Bach as well as 'beatbox classics': a collection of well-known melodies which are especially suitable for flute-beatboxing. • Comprehensive practice and performance material for the popular Flute-Beatboxing technique • The cool arrangements of Summertime, Black or White and Billie Jean will help you steal the show • Progressive programme of exercises and etudes from bronze level (easy) to platinum (concert) • This book complements the Fluteboxing chapter in Tilmann Dehnhard's much acclaimed Workbook & DVD 'The New Flute' (available as UE 35320) / Études et exercices / Etude / Flûte Traversière

Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giuseppe Verdi, premiered in February 1887. As was customary at the time, a short ballet sequence was composed for the opera, to be inserted into Act III, just prior to the entrace of Lodovico, ambassador to the Venetian Republic. When Verdi sent the original manuscript to his publisher Ricordi, he included this detailed description of the scenario: 'Looking at the splendid, colonnaded scene of the Third Act, I decided to make the music go as follows: At the very beginning, to the sound of horns, a group of Turkish slave-girls dance with reluctance and ill-humor because of the very fact they are slaves. Then, hearing the strains of the Arab Song, they grow livelier and at the end dance quite wildly... At the Invocation to Allah, they all fall to the ground... Just then a group of beautiful Greek girls appears among the columns, and four measures later another similar group; at the thirteenth measure these two groups join in a quiet, aristocratic, classical dance. The next motif is that of La Muranese, which heralds the appearance of a 'group' (!) of Venetians... Eight measures later, another group of Venetians enters and at the eighteenth measure (fortissimo) these two groups meet and dance at the front of the stage. After the fortissimo there is a passage of very light music in F-sharp, which should be danced by couples. This motif is repeated, louder, and then all the Venetians dance together. The 6/8 motif reappears, and here I should like to see another group of Venetians come forward. The War Song should be danced by men alone. At the recurrence of the first motif, all the Venetians dance again, then at the più mosso, Venetians, Turks, Greeks, and the rest all dance together... Amen.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Quatre Pieces pour Flûte et Piano. Par ROUSSEL A.. A suite in four movements, capturing the character and spirit of four contrasting flautists from the world of literature. As follows: Pan a shepherd-god known for playing the pan-pipes. Tityre was one of the shepherds in Virgil's Bucolica. Krishna is the Hindu god. In his youth, Krishna played the flute. M. de la Pejaudie is the hero of the novel La Pecheresse by Henri de Regnier./ Répertoire / Flûte Traversière ou Plusieurs Flûtes Traversières

Telemann's Sonata (solo) for traverse flute and basso continuo comes from his 'Tafelmusik' published in 1733, one of the most important instrumental cycles of the late Baroque period. The prominent themes of the Sonata, especially of the first and last movements, seem to have impressed G. Fr. Handel so much that he took them up in his Organ Concerto #15 in D minor. The edition strictly follows the first edition published by Telemann himself, which made it possible to correct several errors in 20th-century editions. / Flûte Et Piano

How to shape a melodic line. Par GRAF PETER-LUKAS. Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music, like any language, follows its own set of rules and a sufficient knowledge and familiarity with musical ‘grammar’ is therefore an essential prerequisite of any convincing interpretation. The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for a successful interpretation: rhythm, metre, agogics, articulation, phrasing, ornamentation and implied polyphony, etc. Numerous examples from the flute repertoire of the 17th–20th century serve as models from which he derives the ‘rules’ appropriate for an interpretation in keeping with each period. – These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion./ Répertoire / Flûte Traversière

These two extraordinary works of late Mozart, KV 594 and KV 608, were both composed to fulfill a commission for a memorial exhibit in Vienna, to be played in a 'mechanical clock organ.? The term 'fantasy? or 'fantasia? came to be affixed to these works later, and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue, 'Ein Stüke für ein Orgelwerk in ein Uhr.? They are also variously titled 'Adagio und Allegro in f für ein Orgelwerk? and 'Allegro und Andante (Fantasie in f) für eine Orgelwaltze.?The first of these, composed between the monumental String Quintet in D and the Piano Concerto in Bb KV 595, is an A-B-A form, comprised of an f minor Adagio opening and closing, with a contrapuntal Allegro at its heart. KV 608 is more complicated, opening with an f minor section reminiscent of a French Overture, followed by a fugue in f minor, then an Andante aria, followed by a return to the opening and then a more complex version of the fugue.Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices, KV 594 and 608 are remarkable works which stand at an intersection, incorporating what he learned about counterpoint studying at the foot of Bach, while looking ahead to the emotional and harmonic poignancy of Schubert. / Quintette A Vent