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Flute Solo - Level 5 - Digital Download SKU: A0.1007583 Composed by Daniel A. Walzer. Contemporary,Jazz,Latin,World. Individual part. 5 pages. Daniel A. Walzer #3450821. Published by Daniel A. Walzer (A0.1007583). Written for Tammy Evans Yonce in 2017, Partido Alto e Bembe for Solo Flute is a composition that explores two ostinatos or repeating rhythmic patterns, drawn from Brazilian Samba and Afro-Cuban music. The Brazilian percussionist Airto Moreira popularized the Partido Alto rhythm (on a composition appropriately titled Partido Alto) on his 1979 album Touching You, Touching Me, with vocalist Flora Purim. Partido Alto has a combination of accented and unaccented rhythms lasting two measures, which can be performed at varying tempos and include playful improvisation. Similarly, the Bembe feel has roots in Afro-Cuban music and is often performed alongside other polyrhythms simultaneously.As a jazz percussionist, I experienced these rhythms up close on two trips to Brazil in 2005 and 2008. I was struck by the dynamism, openness, and spirit of these rhythms-much like the Brazilian culture. In addition to the playful ostinatos, this piece features some jazz harmonic structures, varying time signatures, and lots of room for the performer to have fun and bring out the expressive qualities of the flute.
Partido Alto e Bembe for Solo Flute
Flûte traversière

$5.00 4.29 € Flûte traversière PDF SheetMusicPlus

Flute Solo - Level 3 - Digital Download SKU: A0.899175 Composed by Samuel A. Ward (1848-1903). Arranged by Deborah M. Sylvester. Contemporary,Holiday,Patriotic. Individual part. 19 pages. Silverflute Music #482435. Published by Silverflute Music (A0.899175). Emerging aurally with patriotic fervor from the start, this rendition of America the Beautiful is unique in that it is arranged for five flutes. It opens in the key of C, with perfect fifths, creating the sense that something mysterious is on the horizon; then, in the seventh measure, the America theme (a pattern of running sixteenth notes and eighth notes) is heard first in Flute 1, then Flute 2, then Flute 3. Soon after, Flute 4 and then Flute 5 take up the theme, and toward the close of the piece, the same theme is heard in Flutes 3, 5, and then 1 again, respectively. Three verses of America the Beautiful are presented, each portraying the song with added variations, and three keys are surpassed by the close of the work. Very carefully put together and designed to educate the ears of the listener to the end, America the Beautiful will truly be a beautiful addition to the music of any patriotic event.
America the Beautiful
Flûte traversière

$7.99 6.85 € Flûte traversière PDF SheetMusicPlus

Flute - intermédiaire - Digital Download SKU: ZY.DO-1553 Composed by Kevin Swierkosz-Lenart. Score. 4 pages. Les Editions Doberman-Yppan (digital) #DO 1553. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1553). Composing for solo flute is a challenge. The only way to come out victorious is to turn limitations into possibilities, to leave to the listener's imagination what the sound cannot return, to play on the strengths-and there are many-of the instrument to which the score is destined.The flute, so archaic and close to human vocality, lends itself perfectly to music that alludes to theatrical aspects. So I decided to take up the request of the talented Italian flutist Michela Podera, and compose a short piece for her, all centered on recitative-flavored etchings, sometimes whispered and sometimes declaimed in a stentorian manner. The immediate source of inspiration was a painting by the Neapolitan painter Vincenzo Laricchia, to whom I owe the poetic mood and title of this work of mine: Masquerade.Composer pour flûte solo est un défi. La seule manière de sortir victorieux est de transformer les limitations en possibilités, de laisser à l'imagination de l'auditeur ce que le son ne peut restituer, de jouer sur les forces - et il y en a beaucoup - de l'instrument auquel la partition est destinée.La flûte, si archaïque et proche de la vocalité humaine, se prête parfaitement à une musique qui évoque des aspects théâtraux. C'est pourquoi j'ai décidé d'accepter la demande de la talentueuse flûtiste italienne Michela Podera et de composer pour elle une courte pièce centrée sur des gravures au goût récitatif, parfois chuchotées, parfois déclamées de manière tonitruante. La source immédiate d'inspiration était une peinture du peintre napolitain Vincenzo Laricchia, à qui je dois l'ambiance poétique et le titre de cette œuvre: Masquerade.
Masquerade
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$3.95 3.39 € Flûte traversière PDF SheetMusicPlus

Flute Solo - Level 5 - Digital Download SKU: A0.533567 Composed by Carson Cooman. Concert,Contemporary,Standards. Individual part. 18 pages. Musik Fabrik Music Publishing #3022373. Published by Musik Fabrik Music Publishing (A0.533567). I. CapriceII. Folk ArabesquesIII. MarchIV. Aria and InterludesV. Hootenanny at the Gates of HeavenSonata in memoriam Daniel Pinkham (2007) for flute was written for and is dedicated to flutist FenwickSmith. The work was written in memory of American composer Daniel Pinkham (1923-2006) – a composerwhose music, advocacy, and personal support meant a great deal to me over the years I knew him.Throughout his distinguished career as a composer, keyboard performer (on harpsichord and organ),teacher, and conductor, Dan Pinkham served as an inspiration for countless American composers andmusicians.I had planned to write a solo flute sonata for a few years and made many sketches towards such a work. Inearly 2007, reflecting on Dan’s passing in December 2006, I threw out everything I already had and begananew, conceiving the work both as a tribute to Dan and a piece for his close friend and frequentcollaborator Fenwick Smith.The five movements of the work each explore ongoing transformation of their opening materials. Thoughthere are elegiac moments in the work, the tone throughout is zestfully celebratory, with touches of humor,representing Pinkham’s irrepressible and memorable wit.The first movement, Caprice, flies through a series of arpeggio figurations in changing modes (often adifferent mode “going up†from “coming downâ€).The second movement, Folk Arabesques, is based on a Kentucky folk ballad, “John Riley.†The unusual leapsin the original melody and its modal shifts are explored in the surrounding commentaries, which takecombine bits of the folk ballad with arabesque figurations.The third movement, March, leaps through the total chromatic spectrum. Though the march is a form oftenignored by American composers, Pinkham often employed such sections and rhythms in his own music.The fourth movement, Aria and Interludes, uses a common Pinkham form—where the basic musicaldialogue (in this case a straightforward ‘aria’ melody in G minor) is interrupted by “interludes†ofcontrasting nature. In the case of this movement, it is gradually revealed that the interludes are alteredversions of the aria material.The fifth and final movement, Hootenanny at the Gates of Heaven, is a joyous romp, combining together boththe chromatic/modal shifts of the earlier movements with pentatonic figurations and melodies in the spiritof American folk fiddling.
Carson Cooman: Sonata in memoriam Daniel Pinkham (2007) for flute solo
Flûte traversière

$16.95 14.53 € Flûte traversière PDF SheetMusicPlus






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