Piano, flute, oboe, clarinet, horn, trumpet, trombone, percussion, 2 violins, viola, cello, dbass. Par FUJIKURA DAI. English / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-08/ Répertoire / Ensemble de Chambre

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Trio For Flute Oboe And Piano by Lennox Berkeley: Prelude Allegro moderato Moderato Fugue. To the Sylvan Trio

12 pieces for solo flute, two flutes, flute and piano.For advanced 1st-cycle flutists.One step further is a follow-up to Follow my steps 1 and 2.Composed by Gilles Martin and equally suited for students' concerts or performance assessments, these 12 original pieces for flute solo, 2 flutes, flute and piano are intended for advanced 1st-cycle students.They address various stylistic and technical issues such as classical ornamentation, contemporary music notation, double and triple tonguing, whole-tone scale, blues scale and the blue note, shuffle rhythm and twelve-tone music.For easy reading and performance, the pieces do not exceed two pages in length and feature a brief explanation on the relevant technical and stylistic key points.They are all recorded on the accompanying CD, together with a play-along piano part for the 2 pieces for flute and piano. Accompaniment scores to Patchwork and Fable are provided in a separate section.Going One step further will enhance the young flutists' musical autonomy and broaden their musical horizons. Have fun!Claudine BONODOT-MARTIN / Flûte

100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment. The First Book of Classical Instruments propose une sélection de 100 mélodies issues du répertoire classique, fruit de nombreuses années de recherche et d'expériences réalisées par Andrea Cappellari dans l'enseignement de la musique. Les étudiants de tout âge pourront jouer des mélodies de compositeurs classiques dès les premières leçons. Les 100 mélodies courtes sont toutes composées de trois notes au minimum et huit au maximum. Seules les valeurs rythmiques de base sont utilisées, de la croche à la ronde. Les œuvres, classées par ordre de difficulté, se trouvent dans les clés les plus appropriées pour chaque instrument./ Recueil / Flûte Traversière et Piano

The Golden Age Of The Flutists Vol. 2 is a collection of pieces arranged by Marcel Moyse for Flute and Piano.

Spiel- und Vortragsstücke parallel zu Flöte spielen Band E. Flöte spielen macht Spaß - und ganz besonders im Zusammenspiel mit anderen. Man kann damit gar nicht früh genug beginnen! Diese Sammlung abwechslungsreicher und motivierender Spielstücke ist auf Flöte spielen Band E abgestimmt, kannaber natürlich auch parallel zu anderen, ähnlich aufgebauten Schulen verwendet werden. Die Klavierbegleitungen sind weitgehend in ähnlichem Schwierigkeitsgrad wie die Flötenstimme gehalten, um das Musizieren Gleichaltriger zu ermöglichen. DieMitspiel-CD enthält die Klavierbegleitungen, teils in langsameren Übungsversionen; zusätzlich stehen die Audiotracks online zur Verfügung und können dort nach Bedarf im Abspieltempo angepasstwerden. / Niveau : Intermédiaire / Date parution : 1905-07-08/ Recueil / Flûte Traversière et Piano

This collection brings together Tchaikovsky's most popular piano cycles and suites ine one convenient and affordable collection. Includes Album for the Young, The Seasons, The Nutcracker and other works. Intermediate and early advanced players alike will enjoy these well known tunes that are playful yet full of depth. Includes biographical notes on the composer. / 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.