SKU: BT.DHP-1053535-400
ISBN 9789043121767. 9x12 inches. English-German-French-Dutch.
This unique series allows you to form a jazz quartet with three players, playing either the same instrument or playing any combination of flute, clarinet, alto saxophone or trumpet. The CD contains accompaniments from a tight jazz backing band, which makes playing in a swing style easy. Een swingende uitgave met vier stukken - fantastisch om samen uit te spelen. Je kunt met een van de Swing Quartets-boeken voor andere instrumenten erbij ook combinaties maken. Zo krijg je snel een mooie jazzklank. Elk stukstaat zes keer op de cd. Eerst hoor je een combo met alle vier de stemmen erbij. Dan volgen vier versies waarin respectievelijk de eerste, de tweede, de derde en vierde stem zijn weggelaten. En tot slot hoor je een versie met alleenhet combo.De bladmuziek van de combobegeleiding (Inhoud: score (plus de lead), piano, elektrische basgitaar, gitaar en slagwerk) is via de volgende link verkrijgbaar:Swing Quartets- CombobegeleidingMit den Büchern der Reihe Swing, Jazz oder Groove Quartets kann ein flottes Quartett aus gleichen oder verschiedenen Instrumenten gebildet werden. Es kann jede Stimme zur CD geübt werden, die sechs Aufnahmen pro Stück enthält: zuerst die Combo und die vier Stimmen zusammen; dann folgen vier Versionen, in welchen jeweils die erste, zweite, dritte und vierte Stimme weggelassen wurde; zuletzt erklingt eine nur von der Combo gespielte Version.Die Noten der Combo-Begleitung (Inhalt: Partitur inkl. Leadstimme, Klavier, E-Bass, Gitarre, Schlagzeug) sind separat unter folgendem Link erhältlich:Swing Quartets -Combo-Begleitung Quatre quatuors swing interpréter seul avec l??accompagnement sur compact disc ou avec un, deux ou trois musiciens.Les parties d'accompagnement (Combo Jazz : Conducteur Partie Lead, Piano, Guitare, Guitare Basse et Percussion) sont disponibles séparément :Swing Quartets - Parties d'Accompagnement (Combo) Una serie di quartetti per esplorare tre generi musicali: lo swing, il jazz e il groove. Con una vera band live registrata su CD, potrete suonare usufruendo di una serie di registrazioni combo come solisti tre voci e una versione col solo accompagnamento.
SKU: BT.EMBZ14973
English-German-Hungarian.
The volume contains selected transcriptions from well-known sets that Bartók wrote for children and young people: For Children, Children's and Female Choruses, 44 Duos and Mikrokosmos. Some are based on folk melodies and some on original themes. The volume consists of 16 pieces. In nine, the bottom part is set for alto flute. The collections serve to draw music students into the realm of a great genius of 20th-century music, while concurrently introducing them to the basic techniques of playing chamber music.
SKU: HL.48182237
UPC: 888680837259. 9.0x12.0x0.228 inches.
“Flutes on holiday by Jacques Castérède was written in 1962 for three or four Flutes. Each Flute part is quite difficult on this quartet and would be for advanced-intermediate / advanced flautists. This piece features four sections, each one expressing a different mood: Flûtes Pastorales is quite calm with some enthusiastic highlights, Flûtes Joyeuses reflects a very joyful part with a small dance in the middle, Flûtes rêveuses sounds timeless and reminiscent of a theme of Castérède?s 'Twelve Studies' and Flûtes Légères has a fast and light melody. Jacques Castérède (1926-2014) is a renowned composer and pianist. He has won the Grand Prix de Rome in 1953 and has composed numerous melodic pieces including ballets, concertos, symphonies, ensemble and chamber music.”.
SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: HL.48181379
UPC: 888680857073. 9.0x12.0x0.114 inches.
Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in G was written by the composer in 1778. The Concerto remains widely studied and performed on the Flute, making it one of the most important Concerti in the instrument's repertoire. Concerto in G is in three movements; 1. Allegro maestoso, 2. Adagio ma non troppo, and 3. Rondo: Tempo di Menuetto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of D major. A Dutch flautist of the time, Ferdinand de Jean, commissioned Mozart for four Flute quartets and three Flute concerti. However, the composer, who famously disliked the Flute, only completed three quartets and two concertos. Instead of composing a second concerto, Mozart rearranged his Oboe Concerto, with substantial changes for it to fit with the Flute. This edition of Mozart's Concerto in G includes cadences by virtuosos Taffanel, Gaubert and Bozza, making for an unmissable version of the famed work. .
SKU: HL.48181380
UPC: 888680984427. 9.0x12.0x0.13 inches.
“Wolfgang Amadeus Mozart's (1756-1791) Flute Concerto in D is an adaptation of the original Oboe Concerto in C, which the composer reworked in 1778. The Concerto remains widely studied and performed on both instruments, making it one of the more important Concerti in the woodwind repertoire. Concerto in D is in three movements; 1. Allegro aperto, 2. Adagio non troppo, and 3. Rondo: Allegretto. The first and last movements are in the tonic key, whilst the second movement is in the subdominant key of G major. A Dutch flautist of the time, Ferdinand de Jean, commissioned Mozart for four Flute quartets and three Flute concerti. However, the composer, who famously disliked the Flute, only completed three quartets and one concerto. Instead of composing a second concerto, Mozart rearranged his Oboe Concerto, with substantial changes for it to fit with the Flute. De Jean did not approve, yet the Concerto in D for Flute remains as popular to this day as the Concerto in C for Oboe.”.