| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(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.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire 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
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 100 Christmas Carols and Hymns for Flute and Guitar Flûte et Guitare - Intermédiaire Mel Bay
With Suggested Chordal Accompaniment. Composed by William Bay. Flute, Fife and...(+)
With Suggested Chordal
Accompaniment. Composed
by
William Bay. Flute, Fife
and
Oboe,Guitar: Gospel and
Sacred,Style,Duets and
Ensembles,Solos,Duets and
Ensemble,Solos,Holiday:
Christmas. 100 Hymns.
Book.
124 pages. Published by
Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 101 Christmas Songs (Flute) Flûte traversière Hal Leonard
For Flute. By Various. Instrumental Folio. Christmas. Softcover. 96 pages....(+)
For Flute. By Various.
Instrumental Folio.
Christmas. Softcover. 96
pages. Published by Hal
Leonard
$15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L). UPC:
680160693320. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $71.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Big Book of Flute Songs
Flûte traversière [Partition] Hal Leonard
| | |
| Play A Song of Christmas Flûte traversière [Conducteur] Theodore Presser Co.
35 Favorite Christmas Songs and Carols in Easy Arrangements. By Ruth L. Zimmerma...(+)
35 Favorite Christmas
Songs and Carols in Easy
Arrangements. By Ruth L.
Zimmerman. For Flute.
Part. Published by
Theodore Presser Company.
(1)$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Joy to the World 2 Flûtes traversières (duo) [Partition + CD] De Haske Publications
28 Easy Christmas Duets Flute. By Robert van Beringen. De Haske Play-along Book....(+)
28 Easy Christmas Duets
Flute. By Robert van
Beringen. De Haske
Play-along Book. Size
9x12 inches. 32 pages.
Published by De Haske
Publications.
(2)$13.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Instruments of Joy Flûte traversière [Livre + CD] SoundForth
By Nichols. For flute. Instruments of Joy (Early-Intermediate). Instrumental, Pl...(+)
By Nichols. For flute.
Instruments of Joy
(Early-Intermediate).
Instrumental, Play along.
Book and accompaniment
CD. Published by
SoundForth.
$24.95 - Voir plus => Acheter | | |
| Step One: Play Flute Flûte traversière [Partition + CD] - Débutant Music Sales
By Hal Archer. For Flute. Sheet Music and Audio CD. 48 pages. Published by Music...(+)
By Hal Archer. For Flute.
Sheet Music and Audio CD.
48 pages. Published by
Music Sales.
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Sounds of Christmas, Volume 1 Quatuor de Flûtes : 4 flûtes Eighth Note Publications
By Various. Arranged by David Marlatt. Various. For 4 Flutes. Mixed Instruments ...(+)
By Various. Arranged by
David Marlatt. Various.
For 4 Flutes. Mixed
Instruments - Flexible
Instrumentation.
Renaissance, Christmas.
Level: Easy-Medium.
Duration 00:14:15.
Published by Eighth Note
Publications.
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cuico Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C. Alan Publications
(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Conce...(+)
(Percussion Trio
Feature). Composed by
Gregory Danner. For
Soloist(s) with Concert
Band (Piccolo, Flute 1,
Flute 2, Oboe 1, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Eb
Alto Saxophone 1, Eb Alto
Saxophone 2, Bb Tenor
Saxophone, Eb Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, F Horn 1/2, F Horn
3/). Band Music. Grade 4.
Score and parts. Duration
14:50. Published by C.
Alan Publications
$150.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Do-It-Yourself Flute Flûte traversière [Partition + Accès audio] - Débutant Hal Leonard
The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, M...(+)
The Best Step-by-Step
Guide to
Start Playing. Do It
Yourself.
Instruction, Method.
Softcover
Media Online. 128 pages.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Joy to the World Flûte traversière Schirmer
Flute and Piano. By Various Composers. Arranged by James Galway. (Flute). Woodwi...(+)
Flute and Piano. By
Various Composers.
Arranged by James Galway.
(Flute). Woodwind Solo.
Size 9x12 inches. 24
pages. Published by G.
Schirmer, Inc.
(3)$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Duets for Flute 2 Flûtes traversières (duo) [Partition] - Facile Mel Bay
By Costel Puscoiu. For Flute. duets. Classic. Level: Beginning. Book. Size 8.5x...(+)
By Costel Puscoiu. For
Flute. duets. Classic.
Level: Beginning. Book.
Size 8.5x11. 40 pages.
Published by Mel Bay
Publications, Inc.
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Flutist's Handbook Carl Fischer
Chamber Music Flute(s) SKU: CF.WF230 The Art of Staying in Shape. ...(+)
Chamber Music Flute(s)
SKU: CF.WF230
The Art of Staying in
Shape. Composed by
Robert Stallman. With
Standard notation. 144
pages. Carl Fischer Music
#WF230. Published by Carl
Fischer Music (CF.WF230).
ISBN 9781491153741.
UPC:
680160911240. Ever
since he was honored 50
years ago as a top
prize-winning graduate of
New England Conservatory
and a Fulbright scholar
at the Paris
Conservatoire, flutist
Robert Stallman has drawn
accolades around the
world as a performer and
recording artist who
“dazzles because of
his penetrating
artistry†(Sunday
Times/London). Also known
internationally for
superior flute editions,
including numerous
transcriptions that have
greatly expanded the
repertoire, Stallman now
offers flutists an
appealing collection of
original melodic
warm-ups. With The
Flutist’s
Handbook, he shares his
fresh approach to staying
in shape and maintaining
his reputation for
“consummate
virtuosityâ€
(Repertoire/France). P
refaceOne morning many
years ago I opened my
flute case and suddenly
found myself questioning
the wisdom of having
scales and long tones
come first in my practice
session. Of course, these
are essential to daily
practice, but I wondered
if there might be a
better way to begin the
day—with something
more melodic and
engaging, something to
really inspire me.The
Flutist’s Handbook
emerged from a stream of
musical ideas I began to
jot down during practice
sessions after that
“aha†moment.
As I worked with them, I
noticed a more
spontaneous interest in
practicing. In fact I
even looked forward to
starting my day this way.
As a result, my work on
scales, arpeggios and
long tones followed with
more enjoyment and
focused attention.In
creating many of the
détaché warm-ups
found in Part I, I was
drawn to the musical
sequences of J. S. Bach,
particularly those
developed in his keyboard
works. Bach had
discovered the most
satisfying musical
patterns on which to
build his music, so here
was a treasure trove of
invigorating melodic
material. I also borrowed
apt détaché
passages from C.P.E.
Bach, Schubert,
Dvořák and
others.Part II includes
more musical quodlibets
and echos in a collection
of fifteen short melodies
designed to open and
center the tone, while
encouraging full breath
support. These melodies
also concentrate on
developing our sostenuto,
or true legato
playing—the
foundation of a beautiful
sonority and natural
vocal expression. Except
for final cadence notes,
these warm-ups should be
practiced without
vibrato, to create an
even and seamless
instrument, bottom to
top.All of these warm-ups
are to be played forte
and piano in every major
key, proceeding
chromatically by rising
half-steps. Tempo
indications are given in
the headings, as are
optional rhythmic and
articulation variants.
Suggested breath marks
are in parentheses.The
Handbook opens with
détaché warm-ups
for a good reason. It is
vital to begin our
practice with tonguing,
as a clean attack is
essential to producing a
beautiful tone. Also, in
working on tonguing
(single, double, triple
and tremolando) we
stimulate and strengthen
the jaw muscles that
support the embouchure
(which must remain supple
and flexible). As we
fine-tune these muscles,
we gain tonal center and
clarity, qualities that
may elude us at the
beginning of our
practice. Of course, we
also need to wake up the
air stream and deepen our
breath support. Once the
tongue is alive and the
tone is centered, we are
ready to work further on
our sonority with the
melodic warm-ups in Part
II.This book is meant for
professionals, students
and amateur flutists
alike. I offer it to all
as a companion that
invites more pleasure and
vitality into our daily
practice. It is my firm
belief that by aligning
ourselves with our love
of music and its
energizing patterns each
day—from the very
first moment we pick up
the instrument—we
will bring more ease and
focus into our lifelong
task of staying in shape.
This in turn will support
the heightened
inspiration we want to
take into rehearsals and
performances.
Enjoy!—Robert
StallmanMarblehead,
MassachusettsApril 20,
2018. $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Sounds of the Season 2 Flûtes traversières, Piano Eighth Note Publications
By Various. Arranged by David Marlatt. For 2 Flutes and Keyboard. Duet or Duo; W...(+)
By Various. Arranged by
David Marlatt. For 2
Flutes and Keyboard. Duet
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Duet. Eighth Note
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Renaissance, Christmas.
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(13 Christmas Favorites). By Various. Arranged by Gary Schocker. For 2 Flutes. T...(+)
(13 Christmas Favorites).
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Flutes. Traditional.
Performance score.
Standard notation. 16
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| Intermediate Music for Three, Christmas, Part 2 - Flute/Oboe/Violin [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
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in C. Trios. Intermediate
Music for Three.
Christmas. Intermediate.
Partbook - Part 2.
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| Intermediate Music for Three, Christmas, Part 1 - Flute/Oboe/Violin [Partie séparée] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Flute or Oboe or Violin
in C. Trios. Intermediate
Music for Three.
Christmas. Intermediate.
Partbook - Part 1.
Published by Last Resort
Music Publishing
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