Top Hits Trio 1 Trio de Flûtes: 3 flûtes - Facile De Haske Publications
Flute Trio - early intermediate SKU: BT.DHP-1002319-401 Arranged by Rober...(+)
Flute Trio - early
intermediate
SKU:
BT.DHP-1002319-401
Arranged by Robert van
Beringen. Educational
Tool. Book Only. Composed
2000. 32 pages. De Haske
Publications #DHP
1002319-401. Published by
De Haske Publications
(BT.DHP-1002319-401).
ISBN 9789043112154.
English-German-French-Dut
ch.
A sister book
to Top Hits Duo, which
enables young players to
perform pop songs and
well-known traditional
melodies in small
ensemble groups. This
helps develop both
playing and listening
skills.
Een bonte
mengeling van folk- en
popsongs. Inhoud:
Weââ¬â¢re
Going to Ibiza
ââ¬Â¢ La
Cucaracha ââ¬Â¢
The Floral Dance
ââ¬Â¢ Careless
Love ââ¬Â¢
Everybody Needs Somebody
ââ¬Â¢ Mull of
Kintyre ââ¬Â¢
The Show Must Go On
ââ¬Â¢ Go Tell It
on The Mountain
ââ¬Â¢
Y.M.C.A.ââ¬Â¢
Lovely Evening
ââ¬Â¢ Die
Karawane zieht weiter
ââ¬Â¢ Dona Nobis
Pacem ââ¬Â¢
Sunday in Rio
ââ¬Â¢
Kumbaya
Mit
diesen Top-Hits aus
verschiedenen Jahrzehnten
macht das Zusammenspiel
im Trio richtig
Spaß!
Da
oggi è possibile
suonare in trio i grandi
successi pop. Con Top
Hits Trio potrete
unire tre stumenti della
stessa tonalit per dar
modo ai giovani allievi
di cimentarsi
nellââ¬â¢esper
ienza formativa della
musica
dââ¬â¢insieme,
dove oltre ad imparare
lââ¬â¢importan
za di tenere il giusto
tempo, i musicisti
capiranno anche cosa vuol
dire ascoltare la parte
degli altri. Ma potrete
anche mischiare libri di
diversi strumenti per
creare il trio
giusto.
Arranged by James Power. Book. Published by Music Sales. (PM221361R) Thirty ea...(+)
Arranged by James Power.
Book. Published by Music
Sales. (PM221361R)
Thirty easy trios for
flute using familiar
melodies arranged in
classical, folk, and jazz
styles. Includes: Twinkle
Twinkle Little Star, Au
Clair de la Lune, Go Down
Moses, Yankee Doodle,
Early One Morning, Boston
Belles, and Can Can.
Perfect for solo, duet or
trio flute playing. Ideal
for group tuition.
Eight Rounds Trio de Flûtes: 3 flûtes De Haske Publications
(For 3 Flutes and Optional Piano). By Joachim Johow. De Haske Play-Along Book. 2...(+)
(For 3 Flutes and
Optional Piano). By
Joachim Johow. De Haske
Play-Along Book. 20
pages. De Haske
Publications
#1084486-400. Published
by De Haske Publications
Void of Day Trio de Flûtes: 3 flûtes Potenza Music
Flute trio SKU: P2.10022 Composed by Cornelius Boots. Chamber music, 20th...(+)
Flute trio
SKU:
P2.10022
Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10022).
The third part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979)by James
Hillman (1926-2011) and
musically it explores the
textural possibilities of
a flute ensemble within
the context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The trio is
divided into three
sections: The Way We
Descend--Reflection of
Narcissus--Below Nature.
Taking a break from Greek
myth-nerd terms, this
movement introduces
chthonic-flavored phrases
that elaborate on our
descent into the
underworld, specifically
through dreams. The realm
of the underworld can be
such a shock to our
dayworld, limited, egoic
consciousness that it can
seem like a violation as
Hillman points out,
referencing the Greeks:
This style of the
underworld experience is
overwhelming, it comes as
violation, dragging one
out of life and into the
Kingdom that the Orphic
Hymn to Pluto describes
as 'void of day.' So it
often says on Greek
epitaphs that entering
Hades is 'leaving the
sweet sunlight.' (p.49)
He elaborates on the
differences between
dayworld and underworld
perspectives: The dream
is not compensation but
initiation. It does not
complete
ego-consciousness, but
voids it. So it matters
very much the way we
descend. (p.112) He goes
on to describe the
various modes in which
mythical figures have
descended: Ulysses and
Aenas to learn; Hercules
to take and to test, for
example. To act like
Hercules, like the hero,
in the underworld is to
miss the point and cause
more problems, the
villain in the underworld
is the heroic ego, not
Hades. (p.113).