SKU: BT.AMP-297-400

ISBN 9789043138048. 9x12 inches. English-German-French-Dut ch.

Part of the Anglo Music Play-along Series, Philip Sparkes 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introduces thebeginning player to the world of the classics by using simple yet attractive melodies that fit their limited range.

The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles, from Bach to Grieg and from Purcell to Satie.

This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkeâ??s 15 Easy Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die iets meer dan een octaaf kan spelen. Het boek sluit qua instrumentaal bereik en gebruikte toonsoortenaan bij het Artist Level van Hal Leonards Essential Elements ®, maar kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, die specifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen:van Bach tot Grieg en van Purcell tot Satie.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd met pianobegeleiding en een cd met demo- en meespeeltracks.

15 Easy Classical Solos ist als Ergänzung zur bewährten Anglo Music Play-Along Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von einer Oktave beherrschen. Das Niveau entspricht dem des Artist Levels der Essential Elements ®Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden.Genau auf jedes Instrument zugeschnitten, ermöglicht die wohlüberlegte Stückeauswahl ein erstes Kennenlernen von Melodien aus verschiedenen Epochen der Klassik von Grieg über Purcell bis Satie.Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.

1 5 Easy Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave.

Spécifiqueme nt adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Bach, Purcell, Grieg et Satie.

Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compact disc, ces ouvrages représentent une source complémentaire inestimable toute méthode pédagogique.

So mmaire : Waltz (Moritz Vogel) â?¢ Chorale Now Praise, My Soul, the Lord (J. S. Bach) â?¢ Humming Song from Album for the Young (Robert Schumann) â?¢ Gymnopédie No. 1 (Erik Satie) â?¢ Iâ??m Called Little Buttercup from HMS Pianoforte (Sir Arthur SeymourSullivan) â?¢ Study, op. 37 No.3 (Henry Lemoine) â?¢ Minuet Z649 (Henry Purcell) â?¢ Theme and Variation from Sonata No. 3 (Thomas Attwood) â?¢ Northern Song from Album for the Young (Robert Schumann) â?¢ Two German Dances from Twelve German Dances D 420(Franz Schubert) â?¢ Watchmanâ??s Song from Lyric Pieces op. 12 (Edvard Grieg) â?¢ Gavotte (Jan Dussek) â?¢ Vien qu , Dorina Bella, op. 7 (Antonio Bianchi, arr. Von Weber) â?¢ Minuet from Notebook for Anna Magdalena Bach (Christian Petzold) â?¢ The Prince ofDenmarkâ??s March from Choice Lessons for the Harpsichord or Spinet ( Jeremiah Clarke)

Il concetto della collana Anglo Music Play-Along Series è quello di integrare al più presto nel processo di apprendimento dei giovani strumentisti la possibilit di poter suonare accompagnati al piano o con lâ??ausilio di unâ??incisione su CD. Ilchiaro vantaggio di questo metodo è che gli allievi imparano da subito lâ??aspetto fondamentale del suonare insieme, vale a dire tenere il tempo in modo costante. 15 Easy Classical Solos consente agli allievi che hanno una conoscenza limitatadelle note di suonare brani di Bach, Schubert, Purcell, Grieg e altri, grazie alle versioni facilitate. Il livello di 15 Intermediate Classical Solos permette invece agli allievi che padroneggiano lâ??estensione superiore a unâ??ottava dicimentarsi nei â??primi concertiâ? con brani di Haendel, Clementi, Rameau, Glueck, Beethoven e altri. Il CD propone una traccia con lâ??incisione completa e una con il solo accompagnamento.

Deutschsprachi ge Ausgabe: Meisterwerke der deutschen Romantik (2008-14-400 M)

German Romanticism (Chefs-d’œuvre du romantisme allemand) rassemble un choix de morceaux signés des plus grands compositeurs de ce style, parmi lesquels figure en termes d’histoire de la musique l’Autrichien Franz Schubert. Avec Carl Mariavon Weber, il représente les débuts du romantisme, tandis que Felix Mendelssohn et Robert Schumann appartiennent l’apogée de la période romantique. Richard Wagner, Carl Reinecke et Johannes Brahms représentent la fin du XIXe siècle.
Sur le compact disc inclus, vous trouverez deux versions de chaque pièce : une version intégrale et une version où ne subsiste que laccompagnement.

< I>German Romanticism raccoglie opere di alcuni dei più importanti esponenti di questo stile, cui appartiene storicamente anche il compositore austriaco Franz Schubert. Accanto a Carl Maria von Weber, Schubert rappresenta il primo Romanticismo,mentre Felix Mendelssohn Bartholdy e Robert Schumann ne sono il cuore. Richard Wagner, Carl Reinecke e Johannes Brahms rappresentano l’ultima parte del 19° secolo.
Il CD incluso propone lincisione completa di ogni brano, seguita da una traccia con il solo accompagnamento del piano per consentirvi di eseguire la parte solista.

SKU: PR.114422710

ISBN 9781491136072. UPC: 680160688227.

DUOâ €™s succinct movement titles (I. Here, II. Open, III. Stark, IV. Ardent) tease at revealing the grand and heartfelt inspiration for exuberant romanticism in this sonata-like work of symphonic proportions and depth. Charles Gibb is both an accomplished pianist and an award-winning flutist, who has written of this compelling major addition to the literature: “This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.” Gibb’s DUO is sure to become a favorite major work for flute recitalists.
This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.“Here” begins with three notes that shape the rhythmic and harmonic content of the entire work. Melodies and harmonies including the tonic, dominant, and leading tone can be found in each of the four movements. The first moments of this movement introduce the melody, offering itself unencumbered and uninhibited. It shows itself as it is. The melodies soar, the harmonies become voiced more intricately, and the opening theme repeats in full grandeur. The momentum slows down, and the movement ends with a sense of completion, yet remains unbalanced.A striking piano gesture launches “Open,” the idea of instability reflected with the flowing flute trills and unclear meter patterns in the piano. The sensation of an unsteady grace in 5/8 time arrives with a piano ostinato. The melody is expressive, yet insecure and unbalanced due to changing meters. After a grand pause, the movement transitions to 4/4 time with the flute switching between duplet and triplet flourishes. After a rapid descent in the flute, the opening gesture returns, changed and abruptly interrupted.The third movement, “Stark,” is very static, beginning plainly but markedly. The falling fifth calls out continually throughout the movement, searching, lost. Melodies appear in pieces, some smooth and flowing, others rather disjunct. The piece climaxes with a line of mournfulness, yet revealing a deeper strength through intense projection of tone in the high register. However, the static harmonies return, this time unsteady all the way to its foundation. This destabilization repeats, and then quietly recedes.“Ardentâ� � is the longest of the movements and spans a wide range of musical emotion. Part of the movement is fast paced, energetic, and balances order and disarray. However, once the chaos dies down, a gentle, expressive theme comes in. The theme itself is very resolute; it is order appearing from the pandemonium. Conflict returns, and order and chaos become less distinguishable from one another, and soon fuse together. However, order returns with new meaning, synthesized with previous musical content, creating a truer, deeper sense of awareness or understanding. A moment of ambiguity arises, but the flute persists, supported by the sensitive but firm figuration in the piano, and resoundingly comes to a close, unburdened and at ease.

SKU: PR.114416460

ISBN 9781598067811. UPC: 680160620616. 9x12 inches.

POEM for Flute and PianoKozuch’s POEM is a plaintive elegy, perfect for memorial concerts, in religious services, or as a lyric interlude in recital. Although composed with piano accompaniment, the music is also very effective in performance with organ. Thaddeus Kozuch (1913-1991) was a Chicago-based pianist, composer, and professor at DePaul University and Northwestern University. His beautiful POEM was composed originally for violin and piano in 1937 for his wife-to-be, Jacqueline Frye. He revised POEM for flute and piano in 1988 but the work was discovered only recently in a piano bench by the composer’s daughter, flutist Ann Fairbanks.Although the final pencil manuscript is musically complete, it lacks dynamics, and this publication presents the music as the composer left it.The following performance suggestions are provided by Ann Fairbanks:Many nuances of the work may be left to the discretion of the performer. There are quite a few notes that may be slurred, such as sets of eighth notes or triplet-eighths; if notes are articulated as written, the tonguing should be legato.Dynamics for both flute and piano could be as follows: begin the work p, then crescendo to f in bars 6-7. Decrescendo in 10-11 to a p in bar 12. The most intense section (bars 16-32) should be played with energy and full sonority, including a crescendo in 26 to fin 27. The conclusion, beginning at bar 42, should be played p, with the last measures performed quietly.

SKU: BT.DHP-1074385-401

ISBN 9789043128117. 9x12 inches. Dutch.

[algemeen]De succesvolle methode Easy Steps is ontwikkeld vanuit de praktijksituatie. Met name in het begin zijn de stapjes heel klein: geleidelijke progressie is het motto. Zo krijgt de leerling de kans de verworven vaardighedengoed te verwerken - aan de hand van begrijpelijke uitleg, oefeningen, spelletjes, bekende liedjes en medleys. Van alle oefeningen en speelstukken staat de begeleiding op de bijgevoegde cdâ??s. De duidelijke opzet en overzichtelijkeopmaak zorgen voor extra helderheid. Deze complete methode is bedoeld voor gebruik in de muziekles en laat alle ruimte voor een persoonlijke invulling.[deel 1]Naast de twee cdâ??s bevat deel 1 van Easy Steps een dvd metonder andere instructies over speelhouding, embouchure en instrumentonderhoud. [deel 1 trompet]De cdâ??s van Easy Steps voor trompet zijn ingespeeld door niemand minder dan Frits Damrow, solotrompettist van het Concertgebouworkest.[deel 2]In deel 2 wordt toegewerkt naar de eisen die gesteld zijn aan het A-examen van de muziekschool. Achter in het boek zijn een paar voorbeelden van examenstukken opgenomen.[pianobegeleidi ngsboek]Eenvoudige pianopartijenbij de medleys uit de methodeboeken: hiermee ontstaat de mogelijkheid om al snel leuke live-optredens te verzorgen op school of op een voorspeelavond.

SKU: CF.WF228

ISBN 9781491153529. 9 x 12 inches.

Compiled and edited by Amy Porter, Treasures for Flute and Piano is acollection of Philippe Gaubert’s shorter works for flute and piano. Gaubertwas a multi-talented musician, a marvelous flutist as well as a composer,teacher, and master conductor. Over his lifetime, he became one of the mostimportant musical figures in France between the World Wars in the first halfof the 20th century. Trained in theory and harmony at the Paris Conservatory,Gaubert was also deeply influenced by other composers at the time, includingDebussy, Fauré, and Dukas. Editor Amy Porter is a distinguished Professorat The University of Michigan School of Music, Theatre & Dance, and hasbeen praised by critics for her exceptional musical talent and her passion forscholarship. This edition represents eleven of the sixteen works from AmyPorter and Dr. Penelope Fischer’s video study guide, “The Gaubert Cycle: TheComplete Works for Flute and Piano by Philippe Gaubert”.
Philip pe Gaubert (1879–1941) was a very important teacher and flutist in our classical flute playing lineage. In this edition we have gathered his beautiful, shorter compositions for flute and piano all in one place, to be cherished as “Gaubert’s Treasures.”Philippe Gaubert personified the modern French school of flute playing as introduced by his teacher Paul Taffanel (1844–1908) at the Paris Conservatory. Gaubert was a multitalented musician, a marvelous flutist as well as a gifted composer, teacher and master conductor. Over his lifetime he became one of the most important musical figures in France between the World Wars in the first half of the twentieth century. Gaubert’s musical andpedagogical gifts to us are passed along through generations of students and continue to touch the hearts of many who listen to his fine, and refined, music.Philippe Gaubert studied composition at the Paris Conservatory with Raoul Pugno, Xavier Leroux, and then for a brief time with Charles Lenepvu. It was after this study that he won the famous Prix de Rome second prize in composition. Even with his schooling of theory and harmony in Paris, he was deeply influenced by other composers of the time, namely Debussy, Fauré and Dukas. Between the years of 1905–1914 Gaubert’s early workswere arrangements and short pieces written for the year-end final exam pieces at the Conservatory.Between 1914–1918 Gaubert served in the French Army during World War I, most notably in the battle of Verdun in 1916. This was considered one of the largest battles against the Germans in WWI. He was wounded but his creativity level was not dampened. He was rewarded for his service and awarded medals for his bravery. It was during this time that he found the energy to compose his Deux Esquisses or 2 Scenes, and sketched out his first flute sonata.Gaubert composed his remaining five flute and piano works after 1922 in Paris, and clearly his poetic soul was transformed from the earlier years. He took in new forms and styles of compositions such as a Suite, a Ballade and a Sonatine. He also completed his Second and Third Sonatas for Flute and Piano, all of them dramatic works in terms of compositional techniques and grandeur of tone.Gaubert composed music easily throughout his lifetime, especially during summer breaks when the orchestra and Paris Opera seasons were on hiatus and he was not conducting. He loved literature and poetry which inspired over thirty vocal works from 1903 through 1938.He also wrote twenty-six instrumental chamber works for other instruments: oboe, cornet, clarinet, trombone, violin, viola, cello, harp and combinations of these instruments with piano. Some of these were commissioned jury pieces, but many were for his musician friends.Six full-length stage works, both ballets and operas for the stage, several tone poems and symphonies were written throughout his lifetime.This edition represents eleven out of the sixteen works from our video study guide “The Gaubert Cycle: The Complete Works for Flute and Piano by Philippe Gaubert” with guest pianist Tim Carey. Omitted in this edition are Sonatas Nos. 1–3, Ballade, and Sonatine.

SKU: PR.114424240

ISBN 9781491137581. UPC: 680160691036.

THE BONES OF MR. FORTUNE (FREE AT LAST!) is an 11-minute concerto-like work for solo flute accompanied by symphonic winds and percussion – perfect to play with band or with orchestra, as well as with the composer’s own piano reduction. The work features lengthy cadenzas, and exhilarating dance-like sections with the ensemble. Hailstork describes the historical inspiration: Abused in life and death, an enslaved man (Mr. Fortune) was owned by a surgeon who preserved his skeleton to study anatomy. The bones remained with the doctor’s family for generations, and were given a proper burial making national news in 2013, 215 years after Mr. Fortune’s death.
Abused in life and death, an enslaved man known as Mr. Fortune was honored with an elaborate funeral more than 200 years after he died in Connecticut.Mr. Fortune was owned by Dr. Preserved Porter on a farm in Waterbury, Connecticut. When Fortune died in 1798, Porter, a bone surgeon, preserved his skeleton by having the bones boiled to study anatomy at a time when cadavers for medical study were disproportionately taken from slaves, servants and prisoners.One of Porter’s descendants gave the skeleton in 1933 to Mattatuck Museum in Waterbury, where it was displayed from the 1940s until 1970. The descendant referred to the slave as “Larry” and his name was forgotten at the time.A study by forensic anthropologists at the Quinnipiac University School of Medicine concluded that Fortune was about 5 feet 5 inches tall and died at around 55 years old. He suffered a number of painful ailments, including a fracture in his left hand, a severe ankle sprain and lower back pain. “He was an individual who was in considerable distress,” a forensic professor, Richard Gonzalez said.I was taken by the bizarre story of Mr. Fortune and decided to use it as the stimulus for this work.