| Flute quintet in F major (Op. 41/3) Flûte et Quatuor à Cordes [Conducteur et Parties séparées] Edition HH
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg.
Edited by Jennifer
Caesar. For Flute,
violin, two violas,
violoncello. Score and
parts. 91 pages.
Published by Edition HH
Music Publishers
$26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Flute quintet in E minor (Op. 41/1) Flûte et Quatuor à Cordes [Conducteur et Parties séparées] Edition HH
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg.
Edited by Jennifer
Caesar. For Flute,
violin, two violas,
violoncello. Score and
parts. 68 pages.
Published by Edition HH
Music Publishers
$26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Flute quintet in D major (Op. 41/2) Flûte et Quatuor à Cordes [Conducteur et Parties séparées] Edition HH
By Andreas Jakob Romberg. Edited by Jennifer Caesar. For Flute, violin, two viol...(+)
By Andreas Jakob Romberg.
Edited by Jennifer
Caesar. For Flute,
violin, two violas,
violoncello. Score and
parts. 96 pages.
Published by Edition HH
Music Publishers
$26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
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. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Two flute concertos ('Il Gran Mogol' RV431a and RV431) Flûte traversière et Piano [Reduction] Edition HH
By Antonio Vivaldi (1678-1741). Edited by Andrew Woolley. For flute and keyboard...(+)
By Antonio Vivaldi
(1678-1741). Edited by
Andrew Woolley. For flute
and keyboard. Keyboard
reduction and solo part.
Published by Edition HH
Music Publishers
$25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Two flute concertos ('Il Gran Mogol' RV431a and RV431) Flûte traversière et Piano [Conducteur] Edition HH
Composed by Antonio Vivaldi (1678-1741). Edited by Andrew Wooley. For Flute, str...(+)
Composed by Antonio
Vivaldi (1678-1741).
Edited by Andrew Wooley.
For Flute, strings and
basso continuo. Full
score. 30(xvii) pages.
Duration 9 minutes (2x).
Published by Edition HH
Music Publishers
$39.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Trevor Wye - Practice Book for the Flute: Books 1-6 Flûte traversière [Partition + CD] Novello & Co Ltd.
(Omnibus CD Edition). For Flute. Music Sales America. Softcover with CD. Novello...(+)
(Omnibus CD Edition). For
Flute. Music Sales
America. Softcover with
CD. Novello and Co Ltd.
#NOV164967. Published by
Novello and Co Ltd.
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mazurka de Salon Flûte traversière et Piano [Partition] - Intermédiaire/avancé Schott
Flute and Piano. Composed by Albert Franz Doppler (1821-1883). Edited by ...(+)
Flute and Piano.
Composed by Albert Franz
Doppler (1821-1883).
Edited by Stefan
Albrecht. Woodwind Solo.
Softcover. 14 pages.
Schott Music #FTR226.
Published by Schott Music
(HL.49045103).
$13.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Paul Taffanel/Philippe Gaubert - 24 Progressive Studies in All Keys on the Principal Difficulties Flûte traversière [Partition] Schott
(Flute). By Paul Taffanel (1844-1908) and Philippe Gaubert (1879-1941). Edited b...(+)
(Flute). By Paul Taffanel
(1844-1908) and Philippe
Gaubert (1879-1941).
Edited by Stefan
Albrecht. For Flute.
Schott. Softcover. 36
pages. Schott Music
#ED21079. Published by
Schott Music
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mozart: Symphony No 39 Trio de Flûtes: 3 flûtes [Conducteur] Edition HH
By Wolfgang Amade Mozart. Edited by Christopher Hogwood. For Three flutes. Full ...(+)
By Wolfgang Amade Mozart.
Edited by Christopher
Hogwood. For Three
flutes. Full score and
parts. Published by
Edition HH Music
Publishers (U.K. Import).
$37.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Divertimento Giocoso Flute 2 Solo - Intermédiaire Schott
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra (V...(+)
2 woodwinds (flutes,
treble recorders or flute
and oboe) and string
orchestra (V2) -
intermediate SKU:
HL.49002061 Composed
by Harald Genzmer. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Solo Part.
Composed 1960. 4 pages.
Duration 13'. Schott
Music #CON 61-02.
Published by Schott Music
(HL.49002061). ISBN
9790001022156. The
'Divertimento giocoso' by
Harald Genzmer created in
1960 is scored for two
woodwind instruments
(flutes, recorders or
transverse flute and
oboe) as solo instruments
opposed to the string
orchestra. The composer,
whose work suits the
amateur music-making very
much in many respects,
succeeded in creating a
tonal arrangement that is
individual in style. In
the first movement, this
rhythmically very lively,
thematically clearly
visible and harmonically
inter-esting though not
revolutionary work
presents the strings and
the solo instruments
often enter-ing
canonically with an
easily remembered
-seventh motif; in the
second movement, it leads
a melody dying away a
long time to a dynamic
climax, adds harmonic
cross relations to a
scherzo moving in dance
style and closes with a
lively vivace movement.
(Das
Liebhaber-orchester). $7.99 - Voir plus => Acheter | | |
| Divertimento Giocoso Flute 1 Solo - Intermédiaire Schott
2 woodwinds (flutes, treble recorders or flute and oboe) and string orchestra (V...(+)
2 woodwinds (flutes,
treble recorders or flute
and oboe) and string
orchestra (V1) -
intermediate SKU:
HL.49002060 Composed
by Harald Genzmer. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Solo Part.
Composed 1960. 7 pages.
Duration 13'. Schott
Music #CON 61-01.
Published by Schott Music
(HL.49002060). ISBN
9790001022149. The
'Divertimento giocoso' by
Harald Genzmer created in
1960 is scored for two
woodwind instruments
(flutes, recorders or
transverse flute and
oboe) as solo instruments
opposed to the string
orchestra. The composer,
whose work suits the
amateur music-making very
much in many respects,
succeeded in creating a
tonal arrangement that is
individual in style. In
the first movement, this
rhythmically very lively,
thematically clearly
visible and harmonically
inter-esting though not
revolutionary work
presents the strings and
the solo instruments
often enter-ing
canonically with an
easily remembered
-seventh motif; in the
second movement, it leads
a melody dying away a
long time to a dynamic
climax, adds harmonic
cross relations to a
scherzo moving in dance
style and closes with a
lively vivace movement.
(Das
Liebhaber-orchester). $7.99 - Voir plus => Acheter | | |
| 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 | | |
| Violet Air Flûte traversière Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144404560 For Solo Flute. Composed ...(+)
Chamber Music Flute(s)
SKU: PR.144404560
For Solo Flute.
Composed by Robert
Martin. Classical. Solo
part. With Standard
notation. Composed 2002.
Duration 7 minutes.
Theodore Presser Company
#144-40456. Published by
Theodore Presser Company
(PR.144404560). UPC:
680160030880. A
performing edition based
on the 1821 Meisonnier
edition of A.H. Varlet's
arrangement. Recorded by
Michael Newman and Laura
Oltman on Musicmasters
and Music Heritage
Society CD, LP and
cassette A Night at the
Opera. For college,
conservatory,
professional, amateur.
Medium. $10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 24 Studies, Op. 15 Flûte traversière Schott
(Flute Solo). Composed by Karl Joachim Andersen (1847-1909). Edited by Stefan Al...(+)
(Flute Solo). Composed by
Karl Joachim Andersen
(1847-1909). Edited by
Stefan Albrecht. For
Flute. Woodwind Solo.
Schott Music #ED22130.
Published by Schott Music
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Winter Shadows Flûte, Violon, Guitare Theodore Presser Co.
Chamber Music Flute, Guitar, Violin SKU: PR.144404050 Composed by Robert ...(+)
Chamber Music Flute,
Guitar, Violin SKU:
PR.144404050 Composed
by Robert Martin.
Christmas and Holiday.
Set of Score and Parts.
With Standard notation.
Composed 1998. 12+8+8+8
pages. Duration 8
minutes, 45 seconds.
Theodore Presser Company
#144-40405. Published by
Theodore Presser Company
(PR.144404050). UPC:
680160030187. Adapt
ed from 5
DIVERTIMENTIE.439b for 2
clarinets & bassoon, this
unforced, idiomatic
arrangement by Frederick
Hand is a splendid
addition to the
flute/guitar repertoire.
About 19 1/2 min. For
college, conservatory,
professional, amateur.
Medium. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Flute, Strings and Basso RV431A Ricordi
Basso Continuo; Flute; Strings (Parts) SKU: HL.50601269 Set of Parts(+)
Basso Continuo; Flute;
Strings (Parts) SKU:
HL.50601269 Set of
Parts. Composed by
Antonio Vivaldi. Woodwind
Solo. Classical.
Softcover. Ricordi
#NR141651. Published by
Ricordi (HL.50601269).
UPC: 888680745554.
8.0x10.5x0.435
inches. Among
Vivaldi's many flute and
recorder concertos, two,
both for transverse
flute, were known until a
few years ago only in
incomplete form: RV 431
and 432. Both are written
in the comfortable and
expressive key of E
minor, are transmitted in
autograph manuscripts and
lack their second
movement (RV 432 also
lacks its third
movement). The seemingly
enigmatic instruction
Grave sopra il libro
replacing the second
movement has given rise
to the most fanciful
hypotheses. The discovery
in Edinburgh, in 2010, of
a concerto for transverse
flute in D minor entitled
Il gran Mogol suddenly
shed light on the
situation: this was an
earlier version of RV
431, now complete with
its middle movement, a
Larghetto that is very
possibly identical with
the one missing in RV
431. This Gran Mogol,
which belonged to Robert
Kerr, a Scottish nobleman
and amateur flautist, was
already known by name to
scholars on account of
its listing in an
eighteenth-century
catalogue as part of a
set of Vivaldi concertos
bearing geographical
titles: more recently,
there has come to light a
letter written by Vivaldi
three months before his
death in which the
composer describes this
setin detail. It is very
likely that RV 431 and RV
432 belonged to this
group of works, the last
known collection of its
kind in Vivaldis oeuvre.
This critical edition
places these closely
related works side by
side for the first time,
placing them in their
historical context and
making them performable
through its
reconstruction of some
lost parts. $38.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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