Flute Soneando

TO ALL LOVERS OF CUBAN FLUTE MUSIC (A TODOS LOS AMANTES DE LA FLAUTA CUBANA) This book dedicated to the flute in popular Cuban music is a method in which I have tried to include all the technical and stylistical aspects that are of interest to the musician who wishes to become acquainted with the world of Latin music. On the one hand, the book presents the most important genres of our music where the flute plays an outstanding role as a solo instrument; on the other hand, it introduces the most essential characteristics of the individual genres the flutist should be familiar with when performing Cuban music. This method mainly focusses on technical aspects comprising the knowledge of the clave, articulations, embellishments and the like, presented along with exercises, examples and the analysis of flute solos. I would like to recommend you this book written with deeply-felt dedication by one of Cuba?s greatest contemporary flute players. This excellent work, I have had the pleasure of viewing before its publication, has been created by supreme effort by a good friend of mine who I have worked with at work sessions, on stage and in the recording studio for a long time. I hope that this wonderful concept will help to give worldwide publicity to an instrument of fundamental importance to Cuban music of all times. (Orlando Valle ?Maraca?)

Par LARSEN GREY. Here are 34 easy-to-play folk, popular and classical favorites arranged for tin whistle (also known as pennywhistle) or Irish flute. Chords are included for guitar, keyboard, or other accompaniment instrument. Also included with this book: ? Access to online audio for all 34 songs, with tin whistle, Irish flute, piano, and guitar ? Three duet arrangements If you don?t read music, you can still use this book! In addition to music notation, there is a specially designed tablature for tin whistle and Irish flute. What makes these tune arrangements easy? ? They are played in the lower two octaves of the whistle and flute?s range, ascending no higher than B in the second octave. ? They are in easy tin whistle and Irish flute keys, such as: D major, G major, E minor and B minor. No metal keys are needed on the Irish flute. ? They use only eight notes: D, E, F#, G, A, B, C and C#. ? They are also easy to play on soprano and tenor recorder, modern flute, and piccolo. Grey Larsen is a master musician who performs and teaches internationally. He has played tin whistle and Irish flute since the 1970s and has written nine books, including First Lessons Tin Whistle and the best-seller, The Essential Guide to Irish Flute and Tin Whistle. The author recommends using a tin whistle in D or a standard Irish flute (with or without keys) with this book. You can also use soprano and tenor recorders, modern flute, and piccolo. However, the tablature in this book uses only tin whistle and Irish flute fingerings. / Date parution : 2022-06-08/ Recueil / Flûte Traversière

Mark Vega?s Jazz Solo Series for Flute is a great instructional tool for musicians and music students to learn or improve their improvisational abilities in the jazz-swing idiom. There are sixty-six examples in the book starting at a somewhat easy level and gradually increasing in difficulty throughout the book. Sections include: Exercises in all twelve keys using II-V-I and II-V-III-VI-II-V-I chord progressions. Exercises in all twelve keys using I-VI-II-V-III-bIII-II-V-I chord progressions. Complete worked-out solos over chord changes to the popular Jazz standards Stella By Starlight Take The ATrain and There Will Never Be Another You. Includes an easy version of the solo followed by a more difficult one. Recordings of the choruses of the above pieces repeated for convenient practicing. A selected discography of Mark?s favourite Jazz albums featuring great Jazz soloists.

Par SIMONETTI GIOVANNI PAOLO. / Répertoire / Flûte Traversière et Basse Continue

Daniel Dorffs first collection of flute duets contains settings of four familiar favorites: Oh Susanna, Red River Valley, Shenandoah, and Cindy. Folk Song Suite is equally attractive either for concert performance or informal duet playing, and each movement may be performed individually. For advanced intermediate to advanced flutists. / 2 Flûtes

for Flute and Piano-Alors que le répertoire symphonique du XIXe siécle foisonne de traits pour Flûte solo les oeuvres de musique de chambre ou solos pour Fûte sont plus rares. Cet ouvrage rassemble quelques-unes des plus belles pages du romantismemusical italien de Rossini à Casella en passant par Sgambati Simonetti et Respighi. Sur le compact disc vous trouverez une version intégrale et une version où ne subsiste que l'accompagnement.

Any list of Mozart's greatest works should include this overture. Loved by millions Mozart's Magic Flute is remarkable for so many reasons and worthy of study by every musician! Why should we deny young band students the joy of playing Mozart just because they don't happen to use a bow on their instruments? Mozart belongs to Everyone! Skillfully brought to the concert band stage by an arranger who works with young bands daily this somewhat shortened version of the enigmatic Overture is accessible to young bands but retains a great deal of authenticity. There is added versatility built into this arrangement. A nice performance is possible by using a completeWoodwind section and a Timpanist only. Inspiring!>/I>

An arrangement of great richness of an American folksong for upper voices flute oboe and piano Technically accessible to school and amateur choirs the instrumental parts add tremendous atmosphere while remaining well within the range of younger players. Versions for SATB and TTBB are also available.

Shenandoah - The Water Is Wide-'Cross The Wide Missouri is a wonderful pairing of two fantastic folk songs; Shenandoah and The Water is Wide.The fluid vocal develops the choir's beautiful tone and professional control. As the bright piano and optional flute provide a flowing and pleasing accompaniment resulting in a complete master piece arranged by Don Besig and Nancy Price.

Flexible Woodwind Ensembl-This suite of folk songs is scored for woodwind quartet and a single unpitched drum. Although the nominal scoring is for flute two clarinets and bassoon the piece has considerable inbuilt flexibility of scoring. The options for instruments on each part are as follows: Part 1: Flute oboe or soprano saxophone Part 2: Bb Clarinet or alto saxophone Part 3: Bb clarinet alto saxophone or tenor saxophone Part 4: Bassoon bass clarinet or baritone saxophoneThe piece may be played by any combination of these instruments. Where necessary some passages have been transposed down an octave in the soprano alto and tenor saxophone parts.Where this occurs the lower pitch is also included in the score. There are also a few notes in the bass clarinet part of the March which have been taken up the octave through necessity; similarly this is indicated in the score.The drum should be unsnared and of medium low pitch. A bodhran tenor drum low tom-tom or floor tom are suggested although in the end it is up to the performer!The folk songs used in the piece are not particularly well known these days. 'Gan to the Kye' is an example of the rich culture of traditional music from Northumbria. The title means 'Go to the cows' and is a love song in which the herdsman asks his lover (in a gesture possibly lacking somewhat in romance) to accompany him whilst he tends his herd of cattle.The second movement is a setting of 'Rosemary Lane' a beautiful Somerset song. It tells of a serving girl ill-used by a sailor; as so often in traditional music the beauty of the tune is quite at odds with the unpleasant circumstances related.'Gently Johnny' is a good-humoured song in which the enthusiastic suitor is teased by the object of his affections: he is asked to cool his ardour whilst at the same time being left in no doubt that his attentions may be as bold as he wishes! The middle section uses another song this time from Middlesex called 'Jack Williams'.

o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the

The original version of this setting of the well-known traditional English folk song was completed in 1974 and was commissioned by Rachel McMillan College of Education (where Gregson was a lecturer at the time) for its Music Department choir (female voices). It then had the somewhat unusual instrumentation of spinet flute and string quartet. In 2017 Gregson made a revision for performance and publication in a new version for upper voices and piano

Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre

The original version of this setting of the well-known traditional English folk song was completed in 1974, and was commissioned by Rachel McMillan College of Education (where Gregson was a lecturer at the time) for its Music Department choir (female voices). It then had the somewhat unusual instrumentation of spinet, flute and string quartet. In 2017 Gregson made a revision for performance and publication in a new version for upper voices and piano / Ssa Et Piano

The original version of this setting of the well-known traditional English folk song was completed in 1974 and was commissioned by Rachel McMillan College of Education (where Gregson was a lecturer at the time) for its Music Department Choir (female voices). It then had the somewhat unusual instrumentation of spinet flute and string quartet. In 2017 Gregson was asked to revise it for performance and publication in a new version for upper voices and piano. Arranged for SATB with Piano accompaniment.