Flageolet

SKU: HF.FH-1049

ISBN 9790203410492. 9 x 12 inches.

1. Von den naturlichen Flageolett-Tonen; 2. Von den kunstlichen Flageolett-Tonen.

SKU: HL.49007111

ISBN 9790001076166. German.

SKU: 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.

SKU: HL.49033024

ISBN 9790001130479. UPC: 841886029453. 8.5x11.75x0.075 inches. English.

Harry Partch met soprano Ethel Luening in 1942 and two years later composed this work for her. Initial performances featured Luening as soprano with Partch playing his kithara, and composer Henry Brant playing double flageolet; Partch would eventually replace the double flageolet with two flutes. The use of the complex text from James Joyce's Finnegan's Wake contrasts strongly with Partch's other works at the time, which used texts from Partch's experiences as a transient or from authors like Thomas Wolfe.

SKU: HL.14035889

ISBN 9788759859285. English-Danish.

I - Lento
II - Imposante
III - Andante

Programme Note

In my early television remembrance I recall a broadcast with Samuel Beckett, one of the fathers of the absurd play and drama. At one time Beckett looked the viewer (the camera) in the eye and said:'What! - is the Word'. I have not since been able to forget it, obviously, having borrowed this ambiguous sentence as title for this short cello sonata.

The fact that it is conceived as a unity is obvious from the fact that the two outer movements are closely related. The long, immediately recognizable melodic line which dominates the first movement appears in the third movement aswell, first in an inverted version and then almost identical to its original appearance, only shorter.
In contrast, the middle movement is a fast one, constantly and intensely on the move, with many changes of pulse and meters, as well as large melodic leaps. And while the outer movements each are composed as a single melodic line, the middle movement makes extensive use of the cello as a polyphonic instrument employing lots of chords, double stops and flageolet effects.

Per Norgard (2010).

SKU: HL.49008124

ISBN 9790001121453. UPC: 073999828450. 9.0x12.0x0.295 inches.

The first movement 'Breakfast al fresco' is dominated by impressionistic colour, delicate tremoli sul ponticello and flageolet sounds in the two strings are juxtaposed with precise runs in the piano. The title of the second movement is self-explanatory: 'Parade alla russe' quotes an old Russian soldiers' song 'Nightingale, little bird ...' and is also a reference to Eric Satie's circus pictures. For violin, cello, and piano.

SKU: FG.55011-709-9

ISBN 9790550117099.

Kale vi Aho's Concerto for Guitar and Chamber Orchestra (2018) is in seven movements performed without a break and each using the guitar in a different way. The fairly slow introduction-like movement is followed by a virtuosic Allegro molto in which the guitar is also used like a percussion instrument in places as the soloist taps out rhythms on the soundboard. Motifs from the Introduzione reappear in the Interludio, and in the lyrical, singing Andante cantabile that follows. In the Misterioso movement the guitarist plays only flageolet notes. The sixth movement, Presto, is the other virtuoso one in the concerto. The Presto is the concerto's dynamic climax. From then onwards, the music subsides to a slow Epilogue, gradually retreating into silence. Duration: c. 30 minutes. The full score is available for sale (ISMN 9790550117099) and the orchestral material is available for hire from the publisher. The orchestration is 1111-1000-str(43321).

SKU: PR.ZM90023

SKU: FG.55011-742-6

ISBN 9790550117426.

Kale vi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2013) is in five movements performed without a break. It begins with a swinging Berceuse, followed by a very quick, virtuosic Presto in 5/8 time. The heart of the concerto is the cadenza-like third movement, Adagio, dominated throughout by the soloist. A fairly short Allegretto is followed by the closing Epilogue. This has flashbacks to the opening movement, and they lead to a cadenza in which the soloist plays only flageolet notes and pizzicatos. The concerto ends with a virtuosic coda in 5/8 time evocative of the second movement.

Arto Noras gave the concerto its first performance with the Lahti Symphony Orchestra conducted by Osmo Vänskä in Naantali on June 5, 2014. It was a joint commission from the Naantali Music Festival and the Lahti Symphony Orchestra.

This product consists of the solo part (18 pages) and piano reduction by Kari Vehmanen (62 pages) - have a look inside by clicking “sample. The concerto is scored for a fairly small orchestra. The instrumentation is 2(II=afl)2(II=ca)2(II=bcl )2-2200-bar-02-str and the orchestral material is available for hire from the publisher.

SKU: HL.49001945

ISBN 9790001025041. 8.25x11.75x0.166 inches.

This splendidly-sounding piece consists of a vocal movement based on the baroque concertino ripieno principle and a dance movement whose particular attraction results from a long flageolet passage.

SKU: FG.55011-710-5

ISBN 9790550117105.

Kale vi Aho's Concerto for Guitar and Chamber Orchestra (2018) is in seven movements performed without a break and each using the guitar in a different way. The fairly slow introduction-like movement is followed by a virtuosic Allegro molto in which the guitar is also used like a percussion instrument in places as the soloist taps out rhythms on the soundboard. Motifs from the Introduzione reappear in the Interludio, and in the lyrical, singing Andante cantabile that follows. In the Misterioso movement the guitarist plays only flageolet notes. The sixth movement, Presto, is the other virtuoso one in the concerto. The Presto is the concerto's dynamic climax. From then onwards, the music subsides to a slow Epilogue, gradually retreating into silence. Duration: c. 30 minutes. The full score is available for sale (ISMN 9790550117099) and the orchestral material is available for hire from the publisher. The orchestration is 1111-1000-str(43321).

SKU: FG.55009-494-9

ISBN 979-0-55009-494-9.

Eidola - weiland Gitarrenspieler is, in its own restrained way, a virtuosic work. Not extrovert in the typical sense but inward-looking, to the very core of the instrument. The extensive use of brittle, highly sensitive flageolet notes leads the listener to the brink of silence. It is also a reminder that the guitar is fundamentally a meditative instrument.

SKU: FG.55011-615-3

ISBN 9790550116153.

Kale vi Aho (b. 1949) composed Violin concerto No. 2 in late summer and early autumn 2015 for the Finnish violinist Elina Vahala. Lasting about 32 minutes, the second concerto is a large-scale virtuoso work dominated by the soloist. The strong-featured first movement (Allegro) begins with a fairly short orchestral introduction that is followed by the soloist's first vigorous statement. Around the middle of the movement is a cadenza, and the movement ends with a quick stretta. The soloist dominates the events in the slow second movement (Adagio) even more than it did in the first. The Adagio begins with the same opening motif for the soloist as the first movement, but this time the motif is more lyrical and singing. Having built up to a dramatic climax, it subsides on flageolet notes and finally sounds that are somewhere between musical notes and noise. The third movement (Vivace, leggiero) is by nature dance-like again and lighter than the previous ones. At the end, the tempo accelerates to a wild, virtuosic prestissimo. Piano reduction (2020) by Kari Vehmanen.

SKU: FZ.5562

ISBN 9790230655620. 24.00 x 33.00 cm inches.

This facsimile of an original by Thomas-Louis Bourgeois is part of our in facsimile on French classical music collection. Edition : Paris, Ribou, 1718 (2e tirage). The preface contains a bibliography for this second book and a study of the composer's ornamentation. The cantatas of Bourgeois are of remarkable quality. Presentation by Jean SAINT-ARROMAN and Philippe LESCAT in French, English, German : chronological table, bibliography, the ornamentation of Bourgeois.
Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches.
Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: BT.DOW-03710-400

ISBN 9783905477320. International.

Die enge 4. LageDie weite 4. LageDie 1.-4. Lage mit FlageolettEtüdchen

Bei den Kompendien für Cello handelt es sich nicht um eine Schule im herkömmlichen Sinn, sondern um eine didaktisch orientierte Sammlung von Übungen und Stücken. Die Kompendien orientieren sich an den traditionellen Schulen von Küchler,Doflein, Rolland und anderen berühmten Pädagogen, sind aber inhaltlich und von der Aufmachung her an die heutige Zeit angepasst: Neben kleinen Musikstücken findet man Tonleiter- und Dreiklangübungen sowie Etüdchen“, zu jedem Band gibt es zwei CDszum Mitspielen, verschiedene Aufkleber erinnern die Schüler an wichtige Dinge - und wer genügend Stücke geübt hat, erhält am Ende jedes Bandes zur Belohnung ein Zeugnis. Die Kompendien können alseigenes Lehrwerk, aber auch ergänzend zu anderenInstrumentalschule n für Streicher verwendet werden. Das Besondere an den Kompendien ist, dass die Schüler alle Stücke und Übungen tatsächlich durcharbeiten und dadurch sehr schnell Fortschritte machen.Kompendium für Cello, Die enge 4. LageDie weite 4. LageDie 1.-4. Lage mit FlageolettEtüdchen.

SKU: HL.49003452

ISBN 9790001033947. UPC: 073999352757. 9.0x12.0x0.16 inches. German - English - French.

3d to 6th positions without thumb positions. Moderately difficult.

SKU: BT.DHP-1063964-400

ISBN 9789043124034. 9x12 inches. German.

Spiel Violine! ist eine zeitgemä�e Geigenschule in 24 Lektionen mit zwei sorgfältig zusammen- gestellten CDs und einer separat erhältlichen Klavierbegleitung. Sie ist vom Autorenteam Jaap van Elst, Wim Meuris und Gunter Van Rompaey mit vielGespür für Kinder und Fingerspitzengefühl im Umgang mit den Anfängen auf der Geige über Jahre hinweg praxisnah entwickelt worden. Spiel Violine! eignet sich für den Gebrauch im Einzel- oder Gruppenunterricht. Violine lernen machtSpa�!Spiel Violine! zeichnet sich durch klare Anweisungen, Intonations- und Nachspielübungen, Rhythmusübungen, Improvisationen, Aufgaben und Spiele aus. Der Lernstoff findet sich in bekannten und neuen Spielstücken, Duetten und Rätselnwieder. Interessantes über die Geige und berühmte Geiger frischt den Unterricht zusätzlich auf. Nach vorbereitenden �bungen lernen die Schüler schon früh zu streichen. Durch die ganze Schule hindurch gibt es Bogenübungen sowie Flageolett- undGlissandi-�bungen, mit dem Ziel, die Beweglichkeit der Arme zu fördern. �bersicht über die Lerninhalte von Band 1: � Pizzicato � Die ersten zwei Griffarten � Früh schnellere Streichbewegungen lernen � Legato � Saitenwechsel � Grundtonleitern� Flageoletts � Einfaches Doppelsaitenspiel � Improvisation Die CDs und die Klavierbegleitung Zu einer zeitgemä�en Geigenschule gehört heutzutage eine CD. Spiel Violine! sind gleich zwei CDs beigelegt, auf denen Begleitungen undDemoversionen aller Stücke sowie Gehör- und Intonationsübungen, gespielt von einem professionellen Geiger, zu hören sind. Mit der separat erhältlichen Klavierbegl eitung kann der Lehrer von Anfang an seineSchüler begleiten. Dieser liegt ebenfalls eine CD bei, auf der die Klavierbegleitungen mit einem echten Flügel eingespielt wurden.Klavierbegleitung: DHP 1053904-400 In unserem Flyer Spiel Violine!, den Siehier herunterladen können, erhalten Sie zusätzliche Informationen.

SKU: M7.DOHR-16436

ISBN 9790202034361.

Picc ola musica profonda entstand für die Kontrabassklasse von Jürgen Michel an der Städt. Clara-Schumann-Musikschul e Düsseldorf, insbesondere für den Einsatz bei Jugend musiziert. Der erste Satz Canzonetta profonda kam im Jahre 2016 bei diesem Wettbewerb zur Uraufführung. Laurenz Radig spielte beim Regionalwettbwerb Düsseldorf und beim Landeswettbewerb NRW in Altersgruppe 3. Ihm wurde der Sonderpreis des DTKV Düsseldorf/Mettmann für die beste Interpretation eines zeitgenössischen Stückes zuerkannt. Begleitet wurde er am Klavier von Susanne Ankener-Maczewski. Die maßvollen technischen Anforderungen der drei Sätze schließen neben den traditionellen Bogen- und Grifftechniken auch natürliche Flageoletts ein sowie ein Flageolett-Glissando.