SKU: SU.00220550
This CD Sheet Music� collection makes available fourteen essential flute methods, studies and exercises, as well as over 150 works for flute duos, trios and quartets by over 30 composers from the 18th and 19th centuries. Methods, Studies and Exercises include: Altès (Method for the Boehm Flute, 26 Selected Studies), J.S. Bach (24 Flute Concert Studies), Andersen (24 Etudes, Op. 33), Gariboldi (20 Studies, Op. 132, 30 Easy and Progressive Studies), Hughes (24 Studies, Op. 32/75); Karg-Elert (30 Studies, Op. 107), Köhler (25 Romantic Etudes, Op. 66, 20 Easy Melodic Progressive Exercises, Op. 93), Reichert (7 Daily Exercises, Op. 5), Wagner (Flute Studies in Old and Modern Styles) Duets, Trios and Quartets include: W.F. Bach (6 Duets), de la Barre (Prelude), Beethoven (Allegro and Mineut), Berbiguier (Six Duets, Op. 59), Boismortier (Two Sonatas), Bordet (Timbourins), Briccaldi (Eight Duos, Op. 132), Chinzer/Bordet (The Hunt), Devienne (6 Duets, Op. 82), Dietter(Romance), Finger Fugue); Fürstenau (6 Duets, Op. 137), Gariboldi (Six Easy Duets), Hotteterre (Les Fargis sur les délices), Hugot/Wunderlich (Four Duets), Koechlin (Sonata for Two Flutes), Köhler (Forty Progressive Duets), Kuhlau (Three Brilliant Duos, Op. 81 and 102, Three Grand Duets, Op. 39, Three Grand Trios, Op. 86), Kummer (Trio, Op. 24)), de Lasso (Two Fantasies), Legoux/Bordet (Musette), Le Loup (Sarabande), Loeillet (Sonata in E minor and Sonata in G minor for two flutes and piano), Mozart (3 Duets, Op. 156 and 157), Müller (Theme with Variations), Naudot (Gavotte), Quantz (Three Duets, Op. 2), Reicha (Sinfonico for Four Flutes), Soussman (Twelve Duets, Op. 53), Stamitz (Three Duets, Op. 27), Sweelinck (Duo), Telemann (Sonata in E major, Sonata in A major for two flutes and piano), Tulou (Three Easy Duets, Op. 102 and 103) Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 1800 pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: HL.48182894
UPC: 888680975630. 9.0x12.0x0.092 inches.
French composer Julien Falk (1902-1987) was a famous composition teacher at the Paris Conservatory. He wrote many popular theoretical and study books, 15 Atonal Studies for Flute being no exception. Compiled in 1972, Falk's 15 Atonal Studies was written in response to the changing direction of modern classical music. Moreover, 15 Atonal Studies will enable advanced flautists to prepare for advanced repertoire. Falk's 15 Atonal Studies for Flute is imperative to all aspiring flautists who wish to keep up with the demands of modern classical music..
SKU: HL.50511979
ISBN 9790080138984. Bach (23 x 30,2 cm) inches. Johann Adolf Hasse; Istvan Mariassy.
The opus 3 by Johann Adolf Hasse (1699-1783) contains twelve flute concertos. The present work is the seventh item of this series. Its modern edition is justified, in addition to the elegance and peculiarity of style, by the facility of the instrumental technique of the parts. The flute part is constructed of virtuosic and melodic elements and offers pupils after some years of flute studies already a rewarding, easily executable task of performance. Territorial restrictions may apply. Please ask before ordering.
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.IntroductionTips 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.
SKU: CA.751009
ISBN 9790007229634. Language: German.
Franz Schreker was an important representative of the Wiener Moderne and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women's choir and orchestra (1900) and dedicated to his beloved teacher Robert Fuchs, in reverence. Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms's romantic classicism. Thus, Schreker's psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same year by the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms's Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. Score and parts available separately - see item CA.751000.
SKU: HL.49018017
ISBN 9790001152419. 9.0x12.0x0.2 inches.
After completing his studies with Zoltan Kodaly, the Hungarian composer Mathias Seiber (1905-1960) first worked as a musician in a dance orchestra on an ocean liner which gave him the opportunity to listen to jazz music in New York. From 1928 he taught the first jazz class worldwide at Dr. Koch's Conservatoire in Frankfurt. In the winter term of 1928/29, 19 students had registered with whom he gave a public concert on 3 March 1929 which was broadcast by Radio Frankfurt. After the Nazis had seized power, the jazz class was dissolved, Seiber lost his job and emigrated to London.In 1932 he wrote his piano cycle 'Leichte Tanze' (Easy Dances), one of the early examples of the adoption of jazz forms and styles in so-called serious music. The present arrangement for orchestra is easily playable and is aimed at youth and amateur orchestras. Instrumentation: 2 flutes, clarinet, oboe (ad lib.), alto saxophone, trumpet, bassoon and strings. Movements: Cake Walk - Novelty Foxtrot - Gipsy Tango - Waltz - Walzer - Blues - Charleston.
SKU: CA.751019
ISBN 9790007135232. Language: German.
SKU: CA.751005
ISBN 9790007113407. Language: German.
Franz Schreker was an important representative of the Wiener Moderne and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women's choir and orchestra (1900) and dedicated to his beloved teacher Robert Fuchs, in reverence. Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms's romantic classicism. Thus, Schreker's psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same year by the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms's Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. Score available separately - see item CA.751000.
SKU: CA.751049
ISBN 9790007229696. Language: German.
Franz Schreker was an important representative of the Wiener Moderne and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women's choir and orchestra (1900) and dedicated to his beloved teacher Robert Fuchs, in reverence. Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms's romantic classicism. Thus, Schreker's psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same year by the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms's Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. Score and part available separately - see item CA.751000.