Idéale pour les musiciens pratiquant Flûte Traversière et ayant un niveau proche de Cycle 1, cette pièce se classe dans la catégorie Classique sous la référence PROU04655.Ce sont les éditions françaises Robert Martin qui ont eu le privilège d'éditer la partition 22 CHANTETUDES FOR FLUTE de Proust Pascal. / Flûte Traversière / niveau : Cycle 1 / Partition

Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Martin Gilles et éditée par Billaudot cette partition est idéale pour les joueurs de Flûte Traversière. Si l'instrumentation Flûte Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Flûte Et Piano / Partition

Grade 3-Janet Way's Grade By Grade series draws on the rich and varied Boosey & Hawkes catalogue of classical contemporary and educational repertoire highlighting composers including Serge Prokofieff Dmitri Shostakovich Karl Jenkins Carol Barratt and Christopher Norton alongside arrangements of traditional music from around the world by Peter Wastall Vera Gray and others.This practical anthology of carefully selected pieces provides the complete repertoire resource for the aspiring Grade 3 flautist and creates the perfect package for teaching exam preparation and performance.Each volume contains:19 pieces & shortstudies each complemented by a useful practice and performance tip.Grade-appropriate scales and arpeggios linked to the repertoire through bespoke text and exercises.Brand new sight-reading activitiesNewly-commissioned aural awareness tasks.A Piano accompaniment booklet. This book for Grade 3 Flute players includes the pieces Picnic by Steve Pogson Hornpipe by George Frideric Handel Magnetic Rag by Scott Joplin and more.Janet Way: Grade By Grade Flute (Grade 3) comes complete with a CD of full performance demonstrations Piano backing tracks and grade-appropriate aural awareness resources.

Tilmann Dehnhard composed this collection of original pieces whilst working with classically trained flautists who wanted to play jazz. He addresses such questions as: How can I play melodies over chord progressions? What style of articulation should I use to make sure the music grooves? Each piece on the CD is presented in three versions: two full recordings at differing tempi for playing-along and a version providing the accompaniment only for playing-along with full confidence. Notes and explanations are provided on symbols commonly found in jazz notation swing rhythm off-beat articulation and other conventions often encountered in the playing of jazz.

Flute Friction is a series of flute duets in three books aimed at flautists from grade 1 to 8. 15 Flute duets. 10 Flute Trios.In this first book in the series ten flute trios are also included which teachers will find particularly profitable when working with small groups although the main emphasis in this series is on the interaction between two players similar in standard. In many cases each part is given equal importance so it is the ease with which players can shift from pole position to a more supporting role and back again that poses the principle challenge. Elsewhere the spoils are slightly less equitably carved up and again teachers willquickly gauge for themselves which pieces best suit the abilities and personalities of their students. If teachers can get their students to learn both parts in each piece then in a sense the books immediately double in value!I like to think of these pieces as being useful from a number of viewpoints and would suggest using them in a variety of ways not exclusively as light relief at the end of lessons. Duets are an excellent way of improving sight-reading to be sure as well as building confidence and assertiveness. But at least as importantly they nurture that most underestimated of skills listening without which musical accomplishment is doomed to certain failure. If the teacher is limited in pianistic ability then duets offer a much needed chance for students to play in a small ensemble setting which is the first stage to being able to 'hold a line' in a wind band or orchestra.Above all perhaps the sheer joy of being part of a 'winning team' can hardly be overestimated; played well a duet is greater than the sum of its parts and may well have the potential to please in a concert setting. The business of matching intonation is of course especially important in duets and similarly taking breaths in suitable places is critical to the way an audience understands the overall musical texture.Balance

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

Transcribed and arranged by Louis Moyse. Thirty-two pieces for the early grades. Separate Flute part with Piano accompaniment.

The Best of Flute is a major collection of the best loved pieces and studies selected by the major examination boards from current favourites to forgotten gems. These books include the pieces which have captured the imaginations of teachers and students over the years.Technically tried and tested all the pieces have been rigorously researched by Flute expertSally Adams. A CD of performances and Piano accompaniments is included as well as useful practice tips. One piece from each list of the 2008-2013 Associated Board syllabus is included enabling candidates to use the books in their graded examinations.

Here are 19 easy-intermediate arrangements of familiar melodies in classical folk and jazz styles. Each tune is presented as a trio but these ingenious arrangements work equally well as solos or duets - with or without accompaniment. You can even invite other instrumentalists to play along using the Clarinet Saxophone Brass and Violin editions in Book 2 of this series. This highly flexible series of coordinated instrumental books has been designed to give young people the chance to play together in various combinations of numbers and instruments. Perfect for one two or three flutes - with or without accompaniment May alsobe used with matching arrangements in Book 2 editions of this series for Clarinet Saxophone Brass or Violin Optional Piano Accompaniment book with guitar chord symbols available Ideal for individual or classroom use

28 pieces for flute ensembles-A tremendous bumper collection of pieces for flute ensembles from duos to quintets some with piano accompaniment making them ideal for any occasion - especially concerts. These twenty-eight entertaining pieces are complete with interesting background notes and make a delightful addition to any Flute ensemble's repertoire.

Etude n°21 (Medium) - Etude n°22 (Bright blues) - Etude n°23 (Ballad) - Etude n°24 (Slow ballad) - Etude n°25 (Medium ballad) - Etude n°26 (Bright swing tempo) - Etude n°27 (Moderately) - Etude n°28 (Fast) - Etude n°29 (Medium ballad) - Etude n°30 (Dixieland tempo) - Etude n°31 (Moderately) - Etude n°32 (Ballad) - Etude n°33 (Moderately) - Etude n°34 (Jazz waltz) - Etude n°35 (Medium swing) - Etude n°36 (Medium swing) - Etude n°37 (Ballad) - Etude n°38 (Moderately) - Etude n°39 (Jazz waltz) - Etude n°40 (Ballad)

A Dozen A Day books have long been the favourite pre-practice technical exercises for young pianists. Now these classic warm-up exercises are available for flute too! Complete with audio backing tracks on the included CD A Dozen A Day for Flute helps develop and maintain good fingering and breathing technique the basis for all good playing.Suddenly flute practice has become more rewarding... and a lot more enjoyable!

More attractive and easy studies in technique and rhythm set in jazz and popular idioms. These books have become hugely popular and have been integrated into grades 1-3 of the new ABRSM woodwind syllabus 2003-2006. 27 melodic studies all in jazz idiom some are in swing style and three include improvisation passages.There are helpful hints at the beginning of the book and several of the studies give a written indication of the mood. Recommended. Music Teacher Magazine

Over seventy original progressive studies in a variety of jazz styles by James Rae. A systematic methodical approach that helps you to play stylish Jazz right from the beginning. The book is divided into three sections; part One introduces the beginner to jazz rhythms including swing quavers syncopation and displaced accents. Part Two contains twenty carefully graded melodic jazz studies to assist in the formulation of physical techniques and skills. Part Three Improvisation and Blues encourages the budding Jazz flautist to use these studies as the basis for further creative jazz improvisation.