This five-volume graded anthology acts as an introduction to the flute music of the early- and mid-eighteenth century. All important composers of flute music of the period are represented, starting with the French pioneers La Barre and Hotteterre, and culminating in the great Germans Handel and Bach. Texts faithfully follow the original sources, any editorial additions being carefully differentiated as such. These marks, which include ornament realizations and breathing suggestions, together with the editorial notes that accompany each piece, are designed to help the progressing flautist to cultivate an authentic playing style. In addition, useful information is given about the composers represented and about the pieces selected and the sources from which they are drawn. A separate continuo part is provided, allowing the bass line to be doubled on cello or viola da gamba, in accordance with standard continuo practice. This part, in which the bass is figured, may also be used by keyboard players who wish to improvise their own accompaniment.

Nicole's Aria was written for the daughter of the composer. The piece is modal, based on an aeolian scale, sometimes referred to as a natural or pure minor scale. The composer wrote in a minor mode trying to fill the void of minor-keyed songs for this age as most children's songs are in major keys. This is beautiful writing for a developing alto saxophone player with piano accompaniment.

The Swiss photographer, Dany Gignoux has developed a very close relationship with Dizzy Gillespie and accompanied him during his travels with his orchestra. This book shows mostly unusual and private situations which give a good impression of the nice character of the father of bebop.

inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James, Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.

This piece needs no introduction. It has been arranged here for 2 alto saxophones and piano and this new sound adds even more excitement to the original. The piano part remains in the original key and saxes play the famous melodic lines above the steady bass. The saxes and piano alternate melodic sections with the piano adding newly composed, stylistically accurate counter melodies.

Gordon Lewin's collection of pieces for saxophone combines a popular mix of original pieces, arrangements and traditional songs. From Bach, Paganini and Rossini to folksongs from Andalucia and Israel, this volume provides a contrasted selection of well-arranged pieces and will be an invaluable teaching aid for all teachers looking for interesting and varied repertoire for their students.

In his eulogy of saxophonist Johnny Hodges (1907-70), Duke Ellington ended with the words, "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyesthis was Johnny Hodges. This is Johnny Hodges." Hodges' unforgettable tone resonated throughout the jazz world over the greater part of the twentieth century. Benny Goodman described Hodges as "by far the greatest man on alto sax that I ever heard," and Charlie Parker compared him to Lily Pons, the operatic soprano. As a teenager, Hodges developed his playing style by imitating Sidney Bechet, the New Orleans soprano sax player, then honed it in late-night cutting sessions in New York and a succession of bands lead by Chick Webb, Willie "The Lion" Smith, and Luckey Roberts. In 1928 he joined Duke Ellington, beginning an association that would continue, with one interruption, until Hodges' death. Hodges' celebrated technique and silky tone marked him then, and still today, as one of the most important and influential saxophone players in the history of jazz. As the first ever biography on Johnny Hodges, Rabbit's Blues details his place as one of the premier artists of the alto sax in jazz history, and his role as co-composer with Ellington.

This book contains nine pieces selected from ABRSM's Grade 3 Flute syllabus from 2022. Key features: Nine pieces in a range of styles, chosen from Lists A, B and C - ideal for both Practical and Performance Grade exams. -Classic repertoire and newly commissioned pieces and arrangements.- Audio performances of the nine pieces by expert musicians, plus accompaniment-only tracks for use when practising (download code included in the book) Contents: Prelude from Te Deum, H. 146 [Marc-Antoine Charpentier] Study in F (No. 7 from 30 Etudes faciles et progressives pour la flute) [Giuseppe Gariboldi] Tiptoe and Tango [Sarah Watts] Mazurka Op. 138 [Aleksandr Tikhonovich Grechaninov] Distant Shores: No. 6 from 42 More Modern Studies for Solo Flute [James Rae] Pokarekare Ana [Trad. Maori / P. H. Tomoana] Blanche-Neige au bois Dormant (from Fantaisies, No. 5) [Octave Juste] The St Louis Rag [Tom Turpin] He's a Pirate (from 'Pirates of the Caribbean: The Curse of The Black Pearl') [Hans Zimmer / Klaus Badelt / Geoff Zanelli]

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire.

Johann Joachim Quantz's On Playing Flute has long been recognized as one of the most significant and in-depth treatises on eighteenth-century musical thought, performance practice, and style. This classic text of Baroque music instruction goes far beyond an introduction to flute methods by offering a comprehensive program of studies that is equally applicable to other instruments and singers.
The work is comprised of three interrelated essays that examine the education of the solo musician, the art of accompaniment, and forms and style. Quantz provides detailed treatment of a wide range of subjects, including phrasing, ornamentation, accent, intensity, tuning, cadenzas, the role of the concertmaster, stage deportment, and techniques for playing dance movements. Of special interest is a table that relates various tempos to the speed of the pulse, which will help today's musicians solve the challenge of playing authentic performance tempos in Baroque music. This edition includes 224 musical examples from Quantz's original text and features a new introduction by translator Edward R. Reilly that considers recent scholarship on Quantz's significant role in eighteenth-century musical activity.
On Playing the Flute vividly conveys the constancy of musical life over time and remains a valuable guide for contemporary musicians.

A graphic, easy-to-understand fingering chart for any saxophone which features chromatic, major and minor scale studies. Contains staff notation and fingering diagrams for the entire range of the saxophone, plus a diagram of parts of the sax. Printed on sturdy laminated paper, perfectly sized for carrying with other study book. Great for beginning students!

Although in 2000 he became the first sideman inducted into the Rock & Roll Hall of Fame, "King Curtis" Ousley never lived to accept his award. Tragically, he was murdered outside his New York City home in 1971. At that moment, thirty-seven-year-old King Curtis was widely regarded as the greatest R & B saxophone player of all time. He also may have been the most prolific, having recorded with well over two hundred artists during an eighteen-year span. Soul Serenade is the definitive biography of one of the most influential musicians of the 50s, 60s, and early 70s. Timothy R. Hoover chronicles King Curtis's meteoric rise from a humble Texas farm to the recording studios of Memphis, Muscle Shoals, and New York City as well as to some of the world's greatest music stages, including the Apollo Theatre, Fillmore West, and Montreux Jazz Festival. Curtis's "chicken-scratch" solos on the Coasters' Yakety Yak changed the role of the saxophone in rock & roll forever. His band opened for the Beatles at their famous Shea Stadium concert in 1965. He also backed his "little sister" and close friend Aretha Franklin on nearly all of her tours and Atlantic Records productions from 1967 until his death. Soul Serenade is the result of more than twenty years of interviews and research. It is the most comprehensive exploration of Curtis's complex personality: his contagious sense of humor and endearing southern elegance as well as his love for gambling and his sometimes aggressive temperament. Hoover explores Curtis's vibrant relationships and music-making with the likes of Buddy Holly, Sam Cooke, Isaac Hayes, Jimi Hendrix, Aretha Franklin, Otis Redding, Sam Moore, Donny Hathaway, and Duane Allman, among many others.

During America's Swing Era, no musician was more successful or controversial than Artie Shaw: the charismatic and opinionated clarinetist-bandleader whose dozens of hits became anthems for "the greatest generation." But some of his most beautiful recordings were not issued until decades after he'd left the scene. He broke racial barriers by hiring African American musicians. His frequent "retirements" earned him a reputation as the Hamlet of jazz. And he quit playing for good at the height of his powers. The handsome Shaw had seven wives (including Lana Turner and Ava Gardner). Inveterate reader and author of three books, he befriended the best-known writers of his time. Tom Nolan, who interviewed Shaw between 1990 and his death in 2004 and spoke with one hundred of his colleagues and contemporaries, captures Shaw and his era with candor and sympathy, bringing the master to vivid life and restoring him to his rightful place in jazz history. Originally published in hardcover under the title Three Chords for Beauty's Sake.

A collection of 47 big-note, easy solos on folk favorites designed to build technique, range, and endurance while maintaining student interest. The solos are fun to play and serve ideally as a supplement to any method.

(Brass Solo). Attractive solo literature for the intermediate level student. Contents: Air from Orchestra Suite No. 3, BWV 1068 (J. S. Bach) * Petite Piece concertante (Balay) * Sure on this shining night from Four Songs, Op. 13 (Barber) * The Girl with the Flaxen Hair from Preludes, Book I (Debussy) * Honor and Arms from Samson (Handel) * Les Folies d'Espagne from Pieces de viole, Book II (Marais) * Concert Rondo in E-flat Major, K. 371 (Mozart) * The Dog Star from A Fool's Preferment (Purcell) * Allegro spiritoso from Sonata No.5 (Senaille) * Allegro from Concerto in D Major (Torelli) * Lento from Concertino for Trumpet and Piano (Whitney).

(Brass Solo). An ideal collection for a student performing in a contest or recital after 3-4 years of study. Contents: Marmotte, Op. 52 (Beethoven) * Lovely Moon (Bellini) * Sarabande and Gavotte (Corelli) * A Favorite Place (Mendelssohn) * Love Song (Mendelssohn) * Fear not, beloved from Idomeneo (Mozart) * Let Her Believe from La fanciulla del West (Puccini) * Nymphs and Shepherds (Purcell) * The Picture of the Rose (Reichardt) * Air from Rosamunde (Schubert) * About Strange Lands and People from Scenes from Childhood (Schumann) * All Souls' Day (Strauss) * The Ash Grove (Traditional). Recordings feature Bernhard Scully, principal horn of the Saint Paul Chamber Orchestra, and pianist Vincent Fuh.

The Air is a lovely slow movement that came from Baroquial Suite, a suite in the Baroque style for brass quintet. Reminiscent of the famous Air from J.S. Bach's Orchestral Suite No. 3 in D, Mr. Smallman's Air explores more chromatic harmonies while still maintaining a Baroque "feel."

Instrumentalists will love these collections of 130 popular solos, including: Another One Bites the Dust * Any Dream Will Do * Bad Day * Beauty and the Beast * Breaking Free * Clocks * Edelweiss * God Bless the U.S.A. * Heart and Soul * I Will Remember You * Imagine * Na Na Hey Hey Kiss Him Goodbye * Satin Doll * United We Stand * You Raise Me Up * and more.

This famous orchestral piece is now available for an interchangeable woodwind ensemble. Respighi took 17th century lute pieces and arranged them to exploit the colors available to the modern orchestra. This is the first movement of the first suite. The melody flows throughout the ensemble with most parts getting sections to lead. A great piece of chamber music on a concert or recital.
PART 1 - Flute, Oboe, Clarinet.
PART 2 - Flute, Clarinet, Alto Saxophone.
PART 3 - Clarinet, Alto Saxophone, F Horn.
PART 4 - Clarinet, Alto Saxophone, Tenor Saxophone.
PART 5 - Baritone Saxophone, Bass Clarinet, Bassoon

This piece needs no introduction. It has been arranged here for 2 clarinets and piano and this new sound adds even more excitement to the original. The piano part remains in the original key and clarinets play the famous melodic lines above the steady bass. The clarinets and piano alternate melodic sections. Sometimes the piano plays alone and sometimes the clarinets play the melody with the piano adding newly composed, stylistically accurate counter melodies. This is a unique addition to the repertoire for clarinets and piano.