SKU: MB.21675
ISBN 9780786681037. 8.5 X 11 inches.
The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the soprano recorder, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, phrasing, and the playing of high notes. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. On the alto, use C fingerings. Three of the worlds most famous melodies are here: Mildred Hills Happy Birthday originally Good Morning to You , Euphemia Allens- Chopsticks originally The Celebrated Chop Waltz , and Effie Corcketts Rock-a-Bye, Baby. Less well known delights include Faustina Hodges- Because Im Twenty-Five and Florence Percys Fly Away, as well as Amanda Aldridges Dance of the Warriors-and the list goes on and on. A separate flute edition is available.
SKU: PR.114422450
ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.
Bachâs colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of musicâs greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzantiâs heroic adaptation of the complete Partita is the culmination of many yearsâ work, and the only transcription specifically for the piccoloâs unique range.THE INSPIRATIONEver since my childhood, Johann Sebastian Bachâs solo violin music (like his works for solo cello) has always held a charm and mystery for me. Thereâs something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partitaâs movement titles in Italian) is ânot just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. Itâs a spiritually powerful piece, emotionally powerful, structurally perfect.âTranscribing and performing Bachâs PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a âsmallâ instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bachâs presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bachâs string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bachâs original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates âarpeggioâ were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.
SKU: PR.114424380
ISBN 9781491138076. UPC: 680160693467. 18 x 12 inches.
If you love playing Eric Ewazen’s flute sonatas or horn chamber music, or if you are fan of Brahms’s chamber music, then this exhilarating work is for you! Among Ewazen’s most performed works, the TRIO, inspired by the Brahms horn trio and originally for Violin, Horn, and Piano, has been adapted by the composer for Flute, Horn, and Piano. With a rollicking scherzo and beautiful melodic movements, this 21-minute work is a joy to play and to listen to.I’ve always been fascinated and inspired by chamber works offering several instrumental versions of the same piece, resulting in a new feel and color. One famous example is the great Franck Sonata, originally for violin and piano, and beautifully arranged for flute and piano by Jean-PIerre Rampal. Subsequently other versions of the piece were created for an array of instruments: cello, oboe, clarinet, saxophone, and even tuba! Creating this flute version of my TRIO (flute replacing the original violin part), considered the range, allowing the flute to sometimes sing in a bright, higher register than the original violin part; passages where there were double stops in the violin now have arpeggiated figurations. The original scoring for Horn, Violin, and Piano was commissioned by and gratefully dedicated to Chamberosity, representing an homage to one of my favorite chamber pieces of all time, the Trio for Horn, Violin, and Piano by Brahms. Having both performed (on piano) and analyzed that work, I so loved Brahms’ wonderful weaving of the colors of the instruments, creating an almost orchestral color palette. For years I wanted to write a trio for the same combination, and when my friends in Chamberosity were enthusiastic about me writing that piece for them, I was delighted. The four movements are modeled after the Brahms, with a slow-fast-slow-fast scheme to the entire work. A gentle, somewhat mysterious first movement accumulates depth and momentum as it proceeds, only to return to the gentle world of the opening. The second movement is a rip-roaring scherzo, a true energetic dance with melodies tossed back and forth from the violin to the horn, while the piano provides a resonant accompaniment, inserting its own lively melodies as counterpoint to the violin and horn. The third movement is filled with melancholy, with long lyric melodies appearing sometimes as solos, sometimes as duets, and sometimes as a chorale with all three instruments singing their soulful songs. The final movement, following an austere, dramatic introduction, turns into a grand fugue, with a jumping fugue theme full of life and excitement, culminating in the themes heard in augmentation, strong and bold.
SKU: BT.DHP-1145544-010
9x12 inches. English-German-French-Dutch.
This famous evergreen, performed by Frank Sinatra and many others, is now arranged with lovely solos for trumpet and flute. After an ‘authentic’ opening, Bart Howard allows the arrangement to glide into a bossa nova.Deze evergreen, die vooral in de versie van Frank Sinatra bekend is geworden, komt in dit bijzondere arrangement met fraaie solo’s voor trompet en fluit uitstekend tot zijn recht. Howard laat na een begin dat getrouw blijft aan het origineelhet stuk overgaan in een bossanovastijl.Der von Frank Sinatra oder anderen Interpreten bekannte Evergreen präsentiert sich in diesem originellem Arrangement mit schönen Soli für Trompete und Flöte. Hoshide erlaubte sich, nach einem sehr authentischen Beginn, das Stück in einenBossa-nova-Stil gleiten zu lassen...Ce célèbre standard chanté notamment par Frank Sinatra a été arrangé d’une extraordinaire manière par Takashi Hoshide. Il y a intégré des passages en soli pour trompette ou fl te, et s’est permis d’ajouter une introduction dans un authentique styleBossa-nova. Laissez-vous séduire !Canzoni intramontabili interpretate da Frank Sinatra o altri cantanti sono contenute in questo arrangiamento originale con bellissimi assoli per tromba e flauto. Dopo un inizio fedele all’originale, Takashi Hoshide osa e fa scivolare il pezzo versouno stile di bossa nova.
SKU: AP.20305US
ISBN 9783947998531. UPC: 038081558301. German.
It is not only the great success of Nathan Evans' re-release of The Wellerman on social media that is responsible for the great popularity of sea shanties and naval songs. Such songs create a unique mood, a touch of adventure and wanderlust for the big, wide world. Hardly anyone can elude it and with Vahid Matejko's Sea Shanty Play-Alongs there are now the most beautiful sea shanties and naval songs skillfully arranged as an instrumental play-along series for recorder, flute, clarinet, saxophone, trumpet (opt. baritone T.C.), trombone (opt. baritone B.C.), violin, and accordion (piano).The varied arrangements have a wide stylistic range and offer echoes from rock, Latin, funk, big band to orchestral and Caribbean influences. Thus, each song has its own musical and instrumental appeal, to which the parts and/or solos specially composed by arranger Vahid Matejko also contribute. The original polyphonic choral vocals are replaced by polyphonic instrumental backings.Each of the ten titles was recorded live by excellent professional musicians and is available in two different versions: — a demo-track which features a live trombone performance by Ludwig Nuss, lead trombonist and soloist of the famous WDR-broadcast big band and one of the best trombone players in the German music scene and— a minus-one mix for you to play-along.This edition is also suitable for Baritone B.C. players.
SKU: HL.44013249
UPC: 888680898502.
This famous evergreen, performed by Frank Sinatra and many others, is now arranged with lovely solos for trumpet and flute. After an'authentic' opening, Bart Howard allows the arrangement to glide into a bossa nova.
SKU: HL.44013248
SKU: KN.42040S
UPC: 822795420401.
In this unique Latin setting of Johann Pachelbel's most famous theme, written or ad lib solos are included for all, as well as a written piano solo. A classic that has become part of many Christmas repertoires. Duration 4:20. Available in SmartMusic.