(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo....(+)
The Piano Bench of Easy
Classical Music arranged
by Amy Appleby. For Piano
Solo. Music Sales
America. Classical.
Softcover. 400 pages.
Music Sales #AM967549.
Published by Music Sales
2010
Edition. Composed by
The Royal Conservatory.
Overtones: A
Comprehensive Flute
Series. Book. The
Frederick Harris Music
Company #FLE01. Published
by The Frederick Harris
Music Company (FH.FLE01).
ISBN
978-1-55440-300-4.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation.
Slavo
nic Dances, op. 46, no. 1
Antonin Dvorak
Symphony No. 100 in G
Major (Military): II
Franz Joseph Haydn Le
carnaval des animaux:
Aquarium Camille
Saint-Saens HMS
Pinafore: I'm Called
Little Buttercup Arthur
Sullivan La forza del
destino: Overture
Giuseppe Verdi Serse
(Xerxes), HWV 40: Va
godendo vezzoso e bello
George Frideric Handel
Symphony No. 100 in G
Major (Military): III
Franz Joseph Haydn Ma
Vlast: II Bedrich Smetana
HMS Pinafore: When I
Was a Lad Arthur Sullivan
Nutcracker Suite:
Overture Pyotr Il'yich
Tchaikovsky Symphony
No. 6 (Pastoral): III
Ludwig van Beethoven
Symphony No. 9 in E
Minor, op. 95 (New
World): I Antonin Dvorak
Faust: Soldier's
Chorus Charles Gounod
Peer Gynt Suite No.
1, op. 46: I Edvard Grieg
Symphony No. 102 in B
flat Major: I Franz
Joseph Haydn
Brandenburg Concerto
No. 4, BWV 1049: III
Johann Sebastian Bach
Carmen: La garde
montante Georges Bizet
Petite suite: Ballet
IV Claude Debussy
Symphony No. 100 in G
Major (Military): IV
Franz Joseph Haydn
Symphony No. 40 in G
Minor, K 550: III
Wolfgang Amadeus Mozart
Symphony No. 5: IV
Ludwig van Beethoven
Carmen: Act 1,
Prelude Georges Bizet
Faust Ballet Music:
Danse antique Charles
Gounod Symphony No.
102 in B flat Major: IV
Franz Joseph Haydn
Scheherazade, op. 35:
IV Nicolai
Rimsky-Korsakov
Symphony No. 6
(Pastoral): I, II Ludwig
van Beethoven
Symphonie
fantastique: V Hector
Berlioz Die
Zauberfloete: Wie stark
ist nicht dein Zauberton
Wolfgang Amadeus Mozart
Bolero Maurice Ravel
Scheherazade, op. 35:
I Nicolai Rimsky-Korsakov
Brandenburg Concerto
No. 4, BWV 1049: I Johann
Sebastian Bach
Symphonie
fantastique: I Hector
Berlioz Carmen:
Entr'acte (Prelude)
Georges Bizet
Symphony No. 1 in C
Minor: IV Johannes Brahms
Die Zauberfloete:
Overture Wolfgang Amadeus
Mozart Symphony No. 8
in G Major: IV Antonin
Dvorak Leonore
Overture No. 3, op. 72a
Ludwig van
Beethoven Symphony No.
4 in E Minor: IV Johannes
Brahms La mer: I, II,
III Claude
Debussy Symphony No. 4
(Italian): IV Felix
Mendelssohn Symphony
No. 1 (Classical): II
Sergei Prokofiev
Symphony No. 3 in E
flat Major (Eroica): IV
Ludwig van Beethoven
Prelude a
l'apres-midi d'un faune
Claude Debussy
Sinfonie Mathis der
Maler: I, II Paul
Hindemith Incidental
Music to A Midsummer
Night's Dream, op. 61:
Scherzo Felix Mendelssohn
Petroushka (1947
revision): Part 1 Igor
Stravinsky Symphony
No. 4 in F Minor: III
Pyotr Il'yich Tchaikovsky
Capriccio espagnol,
op. 34: IV Nicolai
Rimsky-Korsakov Sympho
ny No. 1 (Classical): IV
Sergei Prokofiev
Concerto for
Orchestra: I, II, III,
IV, V Bela Bartok
Symphonic
Metamorphosis after
Themes by Carl Maria von
Weber: II, III Paul
Hindemith Das Lied
von der Erde: VI Gustav
Mahler Peter and the
Wolf, op. 67 Sergei
Prokofiev Le carnaval
des animaux: 10. Voliere
Camille Saint-Saens
Daphnis et Chloe:
Troisieme partie Maurice
Ravel Guillaume Tell:
Overture Gioachino
Rossini Till
Eulenspiegel's Merry
Pranks Richard Strauss
Firebird Suite (1919
version) Igor Stravinsky
Symphony No. 9: IV
Ludwig van Beethoven
Concerto for
Orchestra: III Bela
Bartok Scheherezade,
op. 35: IV Nicolai
Rimsky-Korsakov
Semiramide: Overture
Gioachino Rossini
Symphony No. 5, op.
47: I, II Dmitri
Shostakovich.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program.
For the Flute (Audio CD Included). By Anton Bernhard Furstenau; Emil Prill; Erne...(+)
For the Flute (Audio CD
Included). By Anton
Bernhard Furstenau; Emil
Prill; Ernesto Kohler; H.
Soussmann; Henry Altes;
Joachim Andersen; Jules
Auguste Demersseman; Paul
Taffanel; Sigfrid
Karg-Elert; Theobald
Boehm. Edited by Laura
Barron. For Flute. Score
and Audio CD. 39 pages.
Published by Carl
Fischer.
SKU: SU.00220550 Woodwinds, Flute/Piccolo. Solo Flute, Flute Duets/Trios/...(+)
SKU: SU.00220550
Woodwinds, Flute/Piccolo.
Solo Flute, Flute
Duets/Trios/Quartets. CD
(PDF Scores). CD Sheet
Music #00220550.
Published by CD Sheet
Music (SU.00220550).
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
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this product. If you
encounter these issues,
we recommend copying the
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Flute Studies 5-8 Flûte traversière - Intermédiaire The Frederick Harris Music Company
Flute - Intermediate to Early Advanced SKU: FH.FLS02 2010 Edition....(+)
Flute - Intermediate to
Early Advanced
SKU:
FH.FLS02
2010
Edition. Composed by
The Royal Conservatory.
Overtones: A
Comprehensive Flute
Series. Book/CD. The
Frederick Harris Music
Company #FLS02. Published
by The Frederick Harris
Music Company (FH.FLS02).
ISBN
978-1-55440-298-4.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Caprice
in D Major, op. 37, no. 5
Karl Joachim
Andersen Study in G
sharp Minor Heinrich
Soussmann Study in C
Major, op. 88, no. 3
Giuseppe
Gariboldi Ringing the
Changes James
Rae Study in G Major
Harald
Genzmer Bulgarian
Bounce Allen
Vizzutti Caprice in G
Major, op. 37, no. 3 Karl
Joachim Andersen Study
in C Minor Louis
Drouet Study in C
Minor, op. 88, no. 20
Giuseppe
Gariboldi Consolation,
op. 66, no. 4 Ernesto
Koehler Study in F
Major Harald
Genzmer Imaginings
Oliver
Ledbury Tarantella
Allen Vizzutti Ocean
Tide Hilary
Taggart Exercise in A
Minor, op. 33, no. 2 Karl
Joachim Andersen Study
in B Minor Louis
Drouet Farewell, op.
66, no. 13 Ernesto
Koehler Study in G
Minor Antoine (Benoit)
Tranquille Berbiguier
Chilli con salsa Mike
Mower Study in B flat
Minor Russell
Stokes Study No. 4
Francois Veilhan
Exercise in C Minor,
op. 33, no. 20 Karl
Joachim Andersen Study
in D Minor Antoine
(Benoit) Tranquille
Berbiguier Study in D
sharp Minor Louis
Drouet Zig-Zag, op.
66, no. 8 Ernesto
Koehler Tango-etude
No. 4 Astor
Piazzolla Sidewalk
Hilary Taggart Study
No. 5 Endre
Szervanszky.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program.
compiled, arranged and edited by Dona Gilliam and Mizzy McCaskill. For flute. Al...(+)
compiled, arranged and
edited by Dona Gilliam
and Mizzy McCaskill. For
flute. All styles. Level:
Intermediate. Book.
Technique. Size
8.75x11.75. 80 pages.
Published by Mel Bay
Pub., Inc.
(Serie II - France 1800-1860). Edited by Arlette Biget, Michel Giboureau. For Fl...(+)
(Serie II - France
1800-1860). Edited by
Arlette Biget, Michel
Giboureau. For Flute.
This edition: Facsimile.
Methodes and Traites.
Score. 2264 pages.
Published by Anne Fuzeau
Productions - France
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales
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. IntroductionTi
ps 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.
Flute - Early Advanced SKU: FH.FLR08 2010 Edition. Composed by The...(+)
Flute - Early Advanced
SKU: FH.FLR08
2010 Edition.
Composed by The Royal
Conservatory. Overtones:
A Comprehensive Flute
Series. Book/Piano
Accompaniment/CD. The
Frederick Harris Music
Company #FLR08. Published
by The Frederick Harris
Music Company (FH.FLR08).
ISBN
978-1-55440-296-0.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Sonata in
E flat Major, BWV
1031(complete) attr.
Johann Sebastian Bach,
arr. Stephen Chatman
Sonata in G Minor,
op. 2, no. 4 (La Lumagne)
(complete) Michel Blavet
Concerto in G Major
(complete) attr. Giovanni
Battista Pergolesi, arr.
Stephen Chatman
Reverie et petite
valse Andre Caplet
Sunstreams Ian
Clarke, David Hicks, and
Simon Painter arr. Ian
Clarke Das
Fischermadchen, D 957,
no. 10 Franz Schubert,
arr. Theobald Boehm
Standchen, D 957, no.
4 Franz Schubert, arr.
Theobald Boehm Aus
dem Pflanzenreich, op.
57b, First Movement: Die
Lilie; Fourth Movement:
Kaktus Theodor Blumer
Icicle Robert
Aitken Caprice en
gigue Sebastian Bodinus
Les folies d'Espagne
Marin Marais, transc.
Hans-Peter
Schmitz First
Movement: Theme
Second Movement
Fifth Movement
Ninth Movement
Eighth Movement
Twenty-fifth Movement
Three Lyric Pieces
Teruyuki Noda 3.
Adagietto.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program.
Flute - Early Advanced SKU: FH.FLR07 2010 Edition. Composed by The...(+)
Flute - Early Advanced
SKU: FH.FLR07
2010 Edition.
Composed by The Royal
Conservatory. Overtones:
A Comprehensive Flute
Series. Book/Piano
Accompaniment/CD. The
Frederick Harris Music
Company #FLR07. Published
by The Frederick Harris
Music Company (FH.FLR07).
ISBN
978-1-55440-295-3.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Sonata in
G Major, op. 1, no. 5,
HWV 363b (complete)
George Frideric Handel,
arr. Stephen Chatman
Sonata in A Minor,
op. 2, no. 6 (La Bouget)
(complete) Michel Blavet
Andante in C Major, K
315 (285e) Wolfgang
Amadeus Mozart, arr.
Stephen Chatman
Menuet and Dance of
the Blessed Spirits
Christoph Willibald
Gluck, arr. Stephen
Chatman Suite
Antique, Second Movement:
Ostinato, Third Movement:
Aria John Rutter
Sonatina for Flute
and Harpsichord (or
Piano), First Movement
and Third Movement R.
Murray Schafer Deux
Morceaux, op. 41, 2.
Intermezzo Victor
Alphonse Duvernoy Six
Pieces for Flute and
Piano Fikret Amirov
1. Song of the Ashug
3. Dance 6.
Nocturne Partita in A
Minor for Solo Flute, BWV
1013 Third Movement:
Sarabande Johann
Sebastian Bach
Fantasia No. 6 in D
Minor, TWV 40:7 Georg
Philipp Telemann
Thoronet Robert Evans
Trois pieces, 2. Jade
Pierre-Octave
Ferroud.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program.
Flute Repertoire 6 Flûte traversière - Intermédiaire The Frederick Harris Music Company
Flute - Intermediate SKU: FH.FLR06 2010 Edition. Composed by The R...(+)
Flute - Intermediate
SKU: FH.FLR06
2010 Edition.
Composed by The Royal
Conservatory. Overtones:
A Comprehensive Flute
Series. Book/Piano
Accompaniment/CD. The
Frederick Harris Music
Company #FLR06. Published
by The Frederick Harris
Music Company (FH.FLR06).
ISBN
978-1-55440-294-6.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Sonata in
E Minor, op. 3, no. 7
(complete) Jean-Baptiste
Loeillet, arr. Kathleen
Wood Sonata in G
Minor, op. 2, no. 3
(complete) Benedetto
Marcello, arr. Kathleen
Wood Sonata in A
Minor, op. 17, no. 3
(complete) Johann
Christian Schickhardt,
arr. Kathleen Wood
Sonata in D Major
(complete) Leonardo
Vinci, arr. Kathleen Wood
Intermezzo Karl
Joachim Andersen Tico
Tico Zequinha Abreu, arr.
Alan Gout Trois
pieces pour flute et
piano, op. 31 (complete)
Arthur Foote
Soliloquy Harry
Freedman Barcarolle
melancolique, op. 72, no.
1 Charles Edouard
Lefebvre Red Bossa
Gary Schocker
Capriccio, op. 3, no.
3 Franz Weiss Essay
Louis Applebaum
Musefully listening,
nursing a thought Jack
Behrens.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program.
(Wedding and Classical Favorites). Composed by Various. Arranged by Daniel Kelle...(+)
(Wedding and Classical
Favorites). Composed by
Various. Arranged by
Daniel Kelley. For
Flute/Oboe/Violin and
Cello/Bassoon. Duets.
Music for Two series. An
engaging new collection
for any occasion
including the best of
Bach, Chopin, Debussy,
Delibes, Dvorak, Holst,
Tschaikovsky and more!.
Wedding, Classical.
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing
