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 virtuosity” (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.

(Volume II - Mozart for Flute and Orchestra). Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Robert Stallman. For Solo Flute. Performance score. 144 pages. Published by Carl Fischer

A Method and Duet Collection for the Advanced Beginner Flutist. Textbook. 76 pages. Theodore Presser Company #414- 41229. Published by Theodore Presser Company

(A Method for the Beginning Flutist and Melodic Studies for the Advanced Player). By Phyllis Avidan Louke. For Flute, Flute Duet. This edition: Second Edition. Instructional. BEGINNING - INTERMEDIATE. Method book. Standard notation. Composed 2009

Composed by Judy Nishimura. Woodwinds - Flute. Alry Publications #F36. Published by Alry Publications

Composed by Mizzy McCaskill and Dona Gilliam. Book, insert, and online audio. 64 pages. Published by Mel Bay Publications, Inc

Arranged by Dona Gilliam and Mizzy McCaskill. Saddle- stitched. Book and online audio. 52 pages. Published by Mel Bay Publications, Inc

Composed by Judy Nishimura. Alry Publications #F35. Published by Alry Publications

Flute (Flute)

SKU: HL.48189261

Composed by Gé and rard Garcin. Leduc. Softcover. Alphonse Leduc #NT08640Z. Published by Alphonse Leduc (HL.48189261).

Garcin 6 Etudes Pour Jeunes Flutistes Flute Book.

Composed by Mizzy McCaskill and Dona Gilliam. Saddle- stitched. Book and online audio. 56 pages. Published by Mel Bay Publications, Inc

Flutist's Happy Birthday arranged by Ervin Monroe. For flute choir. Classical, Chamber Music. Published by Little Piper

Flute (Flute)

SKU: HL.48185525

Composed by Marcel Moÿ and se. Leduc. Softcover. Alphonse Leduc #AL29162. Published by Alphonse Leduc (HL.48185525).

Moyse Marcel Debutant Flutiste Flute Book Russian.

Soprano- and Treble Recorder

SKU: BT.ALHE32902

Composed by Georges-Leonce Guinot. Book Only. Composed 2015. 16 pages. Heugel & Cie #ALHE32902. Published by Heugel & Cie (BT.ALHE32902).

French.

Guinot Pour Mes Amis Les Flutistes Descant & Treble Recorder Book.

Soprano and Treble Recorder

SKU: HL.48188586

Composed by Georges-Lé and once Guinot. Leduc. Softcover. Composed 2015. Heugel & Cie #HE32902. Published by Heugel & Cie (HL.48188586).

UPC: 888680881252. 10.5x6.75x0.08 inches.

Guinot Pour Mes Amis Les Flutistes Descant & Treble Recorder Book.

3 flutes - easy

SKU: HL.49007998

14 Trios. Composed by Krystof Zgraja. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Playing score. 32 pages. Schott Music #ED 8424. Published by Schott Music (HL.49007998).

ISBN 9790001112338. 9.0x12.0x0.12 inches.

Die Reihe Modern Flutist mit Kompositionen von Krystof Zgraja besteht aus je einem Heft fur Flote und Klavier, fur 2 bzw. 3 Floten. Es handelt sich um flotte, zeitgemasse Spielliteratur fur Anfanger, die den Spass am Zusammenspiel fordern soll und sich auch gezielt fur erste Vortragsabende eignet.

Flute - Intermediate

SKU: MB.30875M

Folk, Saddle-stitched. World. Book and online audio. Mel Bay Publications, Inc #30875M. Published by Mel Bay Publications, Inc (MB.30875M).

ISBN 9781513477435. 8.75X11.75 inches.

Volume III of Playing Outside the Lines is the third of a comprehensive four-part Irish flute method book series offering beginning to advanced Irish traditional flute instruction for Boehm and simple system flutists in graduated books, chapters, and exercises. Building on the foundation provided in the first two books of the series, Volume III dives into more complicated Irish traditional flute ornamentation such as rolls, short rolls, crans, and breath-ornament techniques. Volume III contains ornamentation fingering charts; advanced ornamentation options, explanations, and placement guidelines; 62 accompanying audio tracks; and more than 170 exercises.

Pla ying Outside the Lines is the first Irish flute method book series of its kind, containing more than 600 technical exercises, rich and nuanced discussions of Irish flute style and cultural context, previously undocumented techniques, side-by-side explanations for Boehm and simple system flutists (as well as information for musicians transitioning between the two instruments), audio excerpts, simple system flute care and purchasing information, and resources for further study. By the end of the four-part series, Boehm and simple system flutists of any background will have the tools necessary to play Irish music with a deep understanding of the tradition as well as with individual creativity. 

“A fantastic bible of Irish flute playing. Harrison is a very meticulous and thorough author.” —Viviana Guzman, The Flute View Magazine

“An invaluable resource for any flutist.” —Brook Ferguson, Principal Flutist of the Colorado Symphony Orchestra

“Leslie Anne Harrison’s Playing Outside the Lines is a marvelous gift to all interested in Irish music. Her clear and detailed writing is a huge boon to those embracing the traditional Irish flute and is truly enlightening to those (like me) who want to delve into this music while playing the Boehm flute. From tiniest detail to largest form, Leslie Anne Harrison is there every step of the way. Playing Outside the Lines is a major contribution to flute pedagogy.” —Robert Dick, Performer and Author of The Other Flute

(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm Ferling. Edited by Amy Porter. Arranged by Cyrille Rose. For flute and piano. Carl Fischer Classic Studies. Book and CD. 44 pages. Published by Carl Fischer

The New Essential Companion. Edited by Henrik Wiese. Soli Parts. With Standard notation. 116 pages. Universal Edition #UE36419. Published by Universal Edition

Composed by Sharon Sparrow. Contemporary. Book. With Standard notation. 64 pages. Theodore Presser Company #417-41040. Published by Theodore Presser Company (PR.417410400).

Flute - Advanced Beginner

SKU: FH.FLR04

2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book and online audio. The Frederick Harris Music Company #FLR04. Published by The Frederick Harris Music Company (FH.FLR04).

ISBN 978-1-55440-292-2.

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, Online Audio, 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 unrivaled volume essential for examination or audition preparation.
Sonata in E flat Major, BWV 1031, Second movement: Siciliana attr. Johann Sebastian Bach
Sonata in A Minor, op. 1, no. 1, First Movement and Second Movement Jean-Baptiste Loeillet (de Gant), arr. Kathleen Wood
Tambourin Jean-Philippe Rameau, arr. Stephen Chatman
Suite in A Minor, TWV 55:a2, Menuet I and Menuet II Georg Philipp Telemann, ed. Lionel Salter
Sonata No. 2 in A Major: Cadenza and First Movement; Second Movement Johann Baptist Vanhal
Sonata in F Major, RV 52, First Movement: Siciliano, Second Movement: Allemanda Antonio Vivaldi, arr. Stephen Chatman
Tanzlied, op. 52, book 2, no. 2 Karl Joachim Andersen
Humoresque Arno Babadjanyan, transc. Marianne Gedigian and Rick Rowley
Habanera, from Carmen Georges Bizet, arr. Stephen Chatman
Spring Song Frank Bridge, transc. Marianne Gedigian and Rick Rowley
Rumbustious Rumba Richard Kershaw
Grand Solo in F Major, op. 57, no. 1, Second movement (excerpt) Friedrich Kuhlau
Agra Paul Horn
Classical Escapade Leslie Uyeda.

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.

Reduction for Flute and Piano. Composed by Giulio Briccialdi (1818-1881). Edited by Ginevra Petrucci. Woodwind Solo. Classical. Softcover. 29 pages. Ricordi #NR141573. Published by Ricordi

Composed by Traditional, Florian Brambock. For 3 flutes. Score and part(s). 61 pages. Published by Universal Edition

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5

SKU: CF.SPS85

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+2 4+28+28+8+4+8+8+14+8+9+12 +12+8+8+8+8+12+12+9+12+8+ 16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85).

ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.

Flute - Beginner - Early Advanced

SKU: FH.FLT

2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book. The Frederick Harris Music Company #FLT. Published by The Frederick Harris Music Company (FH.FLT).

ISBN 978-1-55440-299-1.

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.

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.