Let's Play Flute! - Method Book 1

SKU: MB.30875M

ISBN 9781513477435. 8.75X11.75 inches.

Volume III of Playing Outside the Lines is the third of a comprehensive four-part Irish flute method book series offering beginning to advanced Irish traditional flute instruction for Boehm and simple system flutists in graduated books, chapters, and exercises. Building on the foundation provided in the first two books of the series, Volume III dives into more complicated Irish traditional flute ornamentation such as rolls, short rolls, crans, and breath-ornament techniques. Volume III contains ornamentation fingering charts; advanced ornamentation options, explanations, and placement guidelines; 62 accompanying audio tracks; and more than 170 exercises.

Pla ying Outside the Lines is the first Irish flute method book series of its kind, containing more than 600 technical exercises, rich and nuanced discussions of Irish flute style and cultural context, previously undocumented techniques, side-by-side explanations for Boehm and simple system flutists (as well as information for musicians transitioning between the two instruments), audio excerpts, simple system flute care and purchasing information, and resources for further study. By the end of the four-part series, Boehm and simple system flutists of any background will have the tools necessary to play Irish music with a deep understanding of the tradition as well as with individual creativity. 

“A fantastic bible of Irish flute playing. Harrison is a very meticulous and thorough author.” —Viviana Guzman, The Flute View Magazine

“An invaluable resource for any flutist.” —Brook Ferguson, Principal Flutist of the Colorado Symphony Orchestra

“Leslie Anne Harrison’s Playing Outside the Lines is a marvelous gift to all interested in Irish music. Her clear and detailed writing is a huge boon to those embracing the traditional Irish flute and is truly enlightening to those (like me) who want to delve into this music while playing the Boehm flute. From tiniest detail to largest form, Leslie Anne Harrison is there every step of the way. Playing Outside the Lines is a major contribution to flute pedagogy.” —Robert Dick, Performer and Author of The Other Flute

SKU: HL.870066

ISBN 9781705150047. UPC: 196288016755. 9.0x12.0x0.065 inches.

30 popular melodies at an easy level in solo books for all the instruments in the Essential Elements Band Method. Perfect motivational music for students to play and practice featuring songs by Billie Eilish, Queen, Shawn Mendes, Taylor Swift, Star Wars, The Avengers, and more! Titles include: Believer • Blinding Lights • Don't Stop Believin' • Dynamite • Hallelujah • The Imperial March (Darth Vader's Theme) • Let It Go • Señorita • Seven Nation Army • Sucker • This Is Me • We Are the Champions • Wildest Dreams • You Will Be Found • and more.

SKU: BT.AMP-297-400

ISBN 9789043138048. 9x12 inches. English-German-French-Dut ch.

Part of the Anglo Music Play-along Series, Philip Sparkes 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introduces thebeginning player to the world of the classics by using simple yet attractive melodies that fit their limited range.

The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles, from Bach to Grieg and from Purcell to Satie.

This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkeâ??s 15 Easy Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die iets meer dan een octaaf kan spelen. Het boek sluit qua instrumentaal bereik en gebruikte toonsoortenaan bij het Artist Level van Hal Leonards Essential Elements ®, maar kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, die specifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen:van Bach tot Grieg en van Purcell tot Satie.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd met pianobegeleiding en een cd met demo- en meespeeltracks.

15 Easy Classical Solos ist als Ergänzung zur bewährten Anglo Music Play-Along Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von einer Oktave beherrschen. Das Niveau entspricht dem des Artist Levels der Essential Elements ®Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden.Genau auf jedes Instrument zugeschnitten, ermöglicht die wohlüberlegte Stückeauswahl ein erstes Kennenlernen von Melodien aus verschiedenen Epochen der Klassik von Grieg über Purcell bis Satie.Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.

1 5 Easy Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave.

Spécifiqueme nt adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Bach, Purcell, Grieg et Satie.

Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compact disc, ces ouvrages représentent une source complémentaire inestimable toute méthode pédagogique.

So mmaire : Waltz (Moritz Vogel) â?¢ Chorale Now Praise, My Soul, the Lord (J. S. Bach) â?¢ Humming Song from Album for the Young (Robert Schumann) â?¢ Gymnopédie No. 1 (Erik Satie) â?¢ Iâ??m Called Little Buttercup from HMS Pianoforte (Sir Arthur SeymourSullivan) â?¢ Study, op. 37 No.3 (Henry Lemoine) â?¢ Minuet Z649 (Henry Purcell) â?¢ Theme and Variation from Sonata No. 3 (Thomas Attwood) â?¢ Northern Song from Album for the Young (Robert Schumann) â?¢ Two German Dances from Twelve German Dances D 420(Franz Schubert) â?¢ Watchmanâ??s Song from Lyric Pieces op. 12 (Edvard Grieg) â?¢ Gavotte (Jan Dussek) â?¢ Vien qu , Dorina Bella, op. 7 (Antonio Bianchi, arr. Von Weber) â?¢ Minuet from Notebook for Anna Magdalena Bach (Christian Petzold) â?¢ The Prince ofDenmarkâ??s March from Choice Lessons for the Harpsichord or Spinet ( Jeremiah Clarke)

Il concetto della collana Anglo Music Play-Along Series è quello di integrare al più presto nel processo di apprendimento dei giovani strumentisti la possibilit di poter suonare accompagnati al piano o con lâ??ausilio di unâ??incisione su CD. Ilchiaro vantaggio di questo metodo è che gli allievi imparano da subito lâ??aspetto fondamentale del suonare insieme, vale a dire tenere il tempo in modo costante. 15 Easy Classical Solos consente agli allievi che hanno una conoscenza limitatadelle note di suonare brani di Bach, Schubert, Purcell, Grieg e altri, grazie alle versioni facilitate. Il livello di 15 Intermediate Classical Solos permette invece agli allievi che padroneggiano lâ??estensione superiore a unâ??ottava dicimentarsi nei â??primi concertiâ? con brani di Haendel, Clementi, Rameau, Glueck, Beethoven e altri. Il CD propone una traccia con lâ??incisione completa e una con il solo accompagnamento.

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.