Flûte En Sol et Piano. Par PLAYS JEAN-BERNARD / BOUCHERON B.-P.. / Niveau : Fin 2ème Cycle / Répertoire / Flûte Traversière et Piano

Taffanel Paul (né à Bordeaux le 16 Septembre 1844, décédé à Paris le 21 Novembre 1908) a été flûtiste solo à l'Opéra de Paris Comique et professeur de flûte au Conservatoire de Paris. Parmi les élèves de sa classe ont été Gaubert Philippe et Marcel Moyse, le plus grand flûtistes français de leur génération. Il était peut-être la relation étroite à ses élèves qui, selon George Barr, étaient pour lui, sans exception, les fils musicaux 'qui rend Andante pastoral et Scherzettino se distingue parmi ses compositions. Dédié à son élève préféré et Philippe Gaubert composé dans les années de sa vie, son style n'est pas sans rappeler Fauré, qui pour sa part dédié sa fameuse dernière Fantasia Taffanel à son ami. Energique et richement colorés, le travail exige une interprétation subtile, notamment en matière de son et de technique. / Flûte Et Piano / 20 pages / niveau : Intermédiaire / Partition

Par PLAYS JEAN-BERNARD / BOUCHERON B.-P.. / Niveau : Fin 2ème Cycle / Répertoire / Flûte Traversière et Piano

Flöte. Hören, lesen & spielen ist die bewährte Bläserschule für dreizehn verschiedene Instrumente, die im Einzel- oder Gruppenunterricht eingesetzt werden kann. Sie ist gemäß den aktuellen Erkenntnissen und Ansprüchen der Musikerziehung konzipiert. Die perfekte Ergänzung zur Methode in drei Bänden bilden diverse Bücher mit Spielliteratur. Sie sind genau auf den Lernfortschritt in Hören, lesen & spielen abgestimmt, können aber auch unabhängig von der Schule eingesetzt werden. Im Klassik-Spielbuch unternehmen die Schüler einen Streifzug durch die Musikgeschichte und lernen die wichtigsten Komponisten der klassischen Musik kennen, von Tielman Susato bis AntonínDvo ák. Die Melodien sind in ansteigendem Schwierigkeitsgrad geordnet und können parallel zu allen drei Bänden von Hören, lesen & spielen verwendet werden. Gut spielbare Klavierbegleitungen aller Stücke liegen der Ausgabe in gedruckter Form bei: zusätzlich mitgeliefert werden Aufnahmen dieser Begleitungen zum Mitspielen, die online zum direkten Abspielen oder Herunterladen zur Verfügung stehen. / Niveau : Très Facile à Facile / Classique / Date parution : 1905-07-10/ Recueil / Flûte Traversière et Piano

Par BACRI NICOLAS. Trois rêveries opus 111 n°2 propose trois exercices de style (Debussy, Ireland et Grieg) et Petite suite opus 111 n°3 est composée de cinq brefs morceaux dont les quatre premiers existent pour piano seul aux éditions Billaudot ; le cinquième, Humoresque, fut ajouté en 2015 à la demande de Frédéric Chatoux, directeur de la collection consacrée à la flûte, pour clore le cycle, de façon espiègle en rendant hommage aux facéties des chats que j?avais adoptés lorsque je vécus à la campagne, dans le Brabant Wallon. Toutes ces pièces forment un tout cher à mon c?ur, car elles illustrent les premiers pas déjà très assurés dans l?écriture tonale et modale pour un compositeur de quinze-seize ans. Elles font déjà une place au lyrisme et au contrepoint de manière assez exigeante et je les ai remises de nombreuses fois sur le métier afin d?en affiner le plus possible l?écriture. Je suis heureux et honoré que la première de ma Petite Suite ait eu lieu à Bangkok par deux musiciens professionnels. C?est la première fois qu?une création mondiale de ma musique a lieu dans ce pays, qui, comme tous les pays d?Asie, semble se polariser de plus en plus sur la musique classique occidentale. Nicolas Bacri / Date parution : 2022-11-29/ Répertoire / Flûte Traversière et Piano

With Plenty To Chew On-Seven concert pieces including 'Carmina Banana' and other favourites!When I began putting together a few piano pieces back in 2007 I didn't imagine they would quickly spawn a thriving eleven-volume series entitled Eye-Tunes taking players from 'easy' to grade 8 level. Nor did I imagine these might trigger a further five volumes of arrangements for flute and piano two called Creature Comforts (which predictably enough are comprised of animal-inspired pieces) or indeed the three volumes in this current series Flute Pastilles. While it goes without saying that not all pieces conceived for piano will work equally well for the combination of flute andpiano I'm a great believer that a good tune is frequently one which will transcribe easily. I like to think of these cherry-picked arrangements concise though they are as being 'proper' pieces in that they can earn their keep beyond the confines of the practice room or flute lesson. From Book 1 you will find a sprinkling of more thoughtful pieces such as Wind over Goonhilly Forget-Me-Not and Follow the North Star to offset the more jaunty pieces. These in particular call for a little extra attention to tone colour dynamics and phrase-shaping with some awareness of what the piano part is doing too. Think hard about choosing your tempo for each piece as this is a major contributor to musical character and in the faster moving music aim to articulate the rhythms as crisply as you can so that the music can really spring off the page and come to life for your audience.I must acknowledge as before the inestimable contribution to the success of these pieces made by Gillian Poznansky whose suggestions over the appearance of the scores has made such a difference to how the music is likely to be played. She also came up with a fair number of the titles to these pieces and has done them further service by performing them with me to great aplomb on innumerable occasions in far-flung corners of the globe.

Description Selected Flute Solos With Piano Accompaniment A collection of the finest flute solos, selected for their diversity in style and suitability for concert and contest use. Songlist Andalouse Op.20 (Pessard) Bolero Op.28 No.2 (Pessard) Concertino Op.107 (Chaminade) Concerto No.2 K314 (Mozart) Fantasie Op.79 (Faure) Fantasie Pastorale Hongroise Op.26 (Doppler) Gavotte [Turk, Daniel Gottlob] Legende Pastorale Op.138 From Scotch Scenes (Godard) Melodie – Dance Of The Blessed Spirits (Orfeo) [Gluck, Christoph Willibald] Scherzo (A Midsummer Night's Dream) [Mendelssohn, Felix] Serenade (Hue) Sonata No.2 [Handel, George Frideric] Two Cadenzas For Mozart's Piano Concerto In G K.453

For Flute and Piano-Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are aperfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'

Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute thisamong them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'

Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme.Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition.SusanMilan writes....'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'

for Flute and Piano-Emil Titl's Serenade was originally composed for flute and horn with orchestra or piano accompaniment. With a lilting Bel Canto style in 12/8 its lyric melody features passages of filigree work that will excite and challenge the musician's technical as well as expressive capabilities. The piece is ideal for contest or recital for the intermediate player. This edition for flute and piano has been carefully arranged and edited by world-renowned flutist and teacher Sir James Galway.