WELCOME TO FLEX EDITIONS NEW WEBSITE
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| " I had fun to mix three musical styles remotely related. My idea was to take a classical musical phrase then to reharmonize it to give it jazz or pop colors. Here is for the 'short story'. " - Alain LOPEZ | |||||||||
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| " I had fun to mix three musical styles remotely related. My idea was to take a classical musical phrase then to reharmonize it to give it jazz or pop colors. Here is for the 'short story'. " - Alain LOPEZ | |||||||||
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| " I had fun to mix three musical styles remotely related. My idea was to take a classical musical phrase then to reharmonize it to give it jazz or pop colors. Here is for the 'short story'. " - Alain LOPEZ | |||||||||
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| " I had fun to mix three musical styles remotely related. My idea was to take a classical musical phrase then to reharmonize it to give it jazz or pop colors. Here is for the 'short story'. " - Alain LOPEZ | |||||||||
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| " I had fun to mix three musical styles remotely related. My idea was to take a classical musical phrase then to reharmonize it to give it jazz or pop colors. Here is for the 'short story'. " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " During the short ternary intro, the two themes are depicted and then immediatly developped in binary with a mix of Jazz and Jazz Rock styles. The "Twinning" is exploited to make the most of it: in the title, the metric, the major tone and its relative minor, the themes, the chords, the characters attribute and the repeated notes in the melody. Listen to it ! " - Alain LOPEZ | |||||||||
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| " Easy little Piece (from 2 or 3 years onwards) in duet with a Piano having a nice romantic melody and pleasant harmonies " - Patrick NEBBULA | |||||||||
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| " 4 short diverse and varied Pieces of about one minute each, from 8 years practise onward. The style is melodic but rhythmic, very colourful! " - Patrick NEBBULA | |||||||||
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| " a rythmic composition in which the cells "two semiquavers / quaver" and "quaver / two semiquavers" are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " During the short ternary intro, the two themes are depicted and then immediatly developped in binary with a mix of Jazz and Jazz Rock styles. The "Twinning" is exploited to make the most of it: in the title, the metric, the major tone and its relative minor, the themes, the chords, the characters attribute and the repeated notes in the melody. Listen to it ! " - Alain LOPEZ | |||||||||
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| " During the short ternary intro, the two themes are depicted and then immediatly developped in binary with a mix of Jazz and Jazz Rock styles. The "Twinning" is exploited to make the most of it: in the title, the metric, the major tone and its relative minor, the themes, the chords, the characters attribute and the repeated notes in the melody. Listen to it ! " - Alain LOPEZ | |||||||||
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| " A bit of mechanics, a lot of weightlessnes, complicity with the pianist : here are the necessary ingredients to move the audience during an outdoor party... at the begining of the summer " - Jean-Michel MAURY | |||||||||
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| " During the short ternary intro, the two themes are depicted and then immediatly developped in binary with a mix of Jazz and Jazz Rock styles. The "Twinning" is exploited to make the most of it: in the title, the metric, the major tone and its relative minor, the themes, the chords, the characters attribute and the repeated notes in the melody. Listen to it ! " - Alain LOPEZ | |||||||||
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| " During the short ternary intro, the two themes are depicted and then immediatly developped in binary with a mix of Jazz and Jazz Rock styles. The "Twinning" is exploited to make the most of it: in the title, the metric, the major tone and its relative minor, the themes, the chords, the characters attribute and the repeated notes in the melody. Listen to it ! " - Alain LOPEZ | |||||||||
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| " During the short ternary intro, the two themes are depicted and then immediatly developped in binary with a mix of Jazz and Jazz Rock styles. The "Twinning" is exploited to make the most of it: in the title, the metric, the major tone and its relative minor, the themes, the chords, the characters attribute and the repeated notes in the melody. Listen to it ! " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " a Jazz waltz (dedicated to my uncle who was so benevolent during my early stages!) that may remind Erik Satie's Gymnopédies or the famous "Bluesette" from Toots Thielemans " - Alain LOPEZ | |||||||||
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| " What else can be better than a Samba to tackle the Syncopation with fun! In the second part, the player will have to articulate the syncopation to become a credible Samba player! one could also add the sounds of a "reco-reco" or a "pandeiro" (small Brasilian drums) to make this Samba even more captivating! " - Alain LOPEZ | |||||||||
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| " What else can be better than a Samba to tackle the Syncopation with fun! In the second part, the player will have to articulate the syncopation to become a credible Samba player! one could also add the sounds of a "reco-reco" or a "pandeiro" (small Brasilian drums) to make this Samba even more captivating! " - Alain LOPEZ | |||||||||
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| " What else can be better than a Samba to tackle the Syncopation with fun! In the second part, the player will have to articulate the syncopation to become a credible Samba player! one could also add the sounds of a "reco-reco" or a "pandeiro" (small Brasilian drums) to make this Samba even more captivating! " - Alain LOPEZ | |||||||||
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| " What else can be better than a Samba to tackle the Syncopation with fun! In the second part, the player will have to articulate the syncopation to become a credible Samba player! one could also add the sounds of a "reco-reco" or a "pandeiro" (small Brasilian drums) to make this Samba even more captivating! " - Alain LOPEZ | |||||||||
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| " What else can be better than a Samba to tackle the Syncopation with fun! In the second part, the player will have to articulate the syncopation to become a credible Samba player! one could also add the sounds of a "reco-reco" or a "pandeiro" (small Brasilian drums) to make this Samba even more captivating! " - Alain LOPEZ | |||||||||
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| " What else can be better than a Samba to tackle the Syncopation with fun! In the second part, the player will have to articulate the syncopation to become a credible Samba player! one could also add the sounds of a "reco-reco" or a "pandeiro" (small Brasilian drums) to make this Samba even more captivating! " - Alain LOPEZ | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| Piece composed for the 2011 Edition of Saxhorn, Euphonium and Tuba Competition of Tours | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " Freely inspired by the famous Raymond Queneau's book, I wanted to write a piece that could be played by low-pitched solo brass instrument. It can be played by a Tuba, an Euphonium or a Bb Saxhorn, a Tuba or a F Horn player. This version is for Tuba. The others are available as well. This piece can be played from an exam from 8 years of instrument practice. " - Arnaud MEIER | |||||||||
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| " Freely inspired by the famous Raymond Queneau's book, I wanted to write a piece that could be played by low-pitched solo brass instrument. It can be played by a Tuba, an Euphonium or Bb Saxhorn, a Trombone or a F Horn player. This version is for Euphonium or Bb Saxhorn. The others are available as well. This piece can be played from an exam from 8 years of instrument practice. " - Arnaud MEIER | |||||||||
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| " Freely inspired by the famous Raymond Queneau's book, I wanted to write a piece that could be played by low-pitched solo brass instrument. It can be played by a Tuba, an Euphonium or Bb Saxhorn, a Trombone or a F Horn player. This version is for F Horn. The others are available as well. This piece can be played from an exam from 8 years of instrument practice. " - Arnaud MEIER | |||||||||
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| Piece composed for the 2011 Edition of Saxhorn, Euphonium and Tuba Competition of Tours | |||||||||
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| " This Piece is a transcription for Trombone of a Baroque piece. It must be played using the subtle phrasing and moderate sound intensity of instruments used during this epoch, such as Sackbut. The main difficulty of this Piece reside in its interpretation. In order to help you, I propose articulations and nuances that will allow you playing in the spirit of the first half of the eighteenth century, while giving you the freedom to choose the ornamentation that you prefer. " - Olivier LACHURIE | |||||||||
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| " This Piece is one of the real Must-Haves for Tenor Trombone. Composed in 1915, it has often be chosen for exams and competitions, since it allows highlighting the musicality, instrumental techniques (triple tonguing, rapid slide movements) as well as the wide and warm sound of the instrumentalist. This Cavatine is an ideal and pleasant piece for concert. Several famous Trombonists have recorded it, and continue to play it all around the World. " - Olivier LACHURIE | |||||||||
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| " This concerto is a major Piece of Baroque repertoire for Trombone. A particular attention must be given to the respect of nuances and articulations that I placed in this score, to guide you towards playing in the spirit of the first half of the eighteenth century, while giving you the freedom to ornament as you like. " - Olivier LACHURIE | |||||||||
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| " Composed during the nineteenth century, this piece is one of the "standards" of Trombone repertoire. It is also often played in national and international competitions. Felix Alexandre Guilmant managed here at the same time to reveal many musical aspects of Trombone and to offer a great freedom of interpretation to the player. Enjoy! " - Olivier LACHURIE | |||||||||
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| A Piece for exams and auditions for students playing trombone for 4 years onwards. | |||||||||
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| A Piece for exams and auditions for students playing euphonium or saxhorn for 4 years onwards. | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " This bluesy ballad proposes an easy approach of doted quaver followed by semiquaver and helps going one step further since this solemn rhythm is always followed by 2 quavers! " - Alain LOPEZ | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| A perfect Piece for exams or auditions - for students playing Flute for 1 year onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Flute for 1 year onwards | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| " A rythmic composition in which the cells "quaver / two semiquaver" and " two semiquaver / quaver " are like a leitmotiv until the end of the Piece. The numerous triplets are a wink of "Rhapsody in Blues" from George Gershwin. My goal was to facilitate the listening, the exchange and the mimicry betwenn the two associated players: no tandem ("Temps d'M") without that! " - Alain LOPEZ | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| A series or original pieces for young pianists, varied, fun to play and to hear. From 2 years of piano practice onwards. | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| " As a fan of bossa-novas from Antonio Carlos Jobim (with complex and moving harmonies), I have created my samba jazz in order to motivate students to work on typical rhythms of this musical style " - Alain LOPEZ | |||||||||
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| A perfect Piece for exams or auditions - for students playing F Horn for 4 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Trumpet or Cornet for 4 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Alto Saxophone for 3 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Bassoon for 4 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing F Horn for 4 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Tenor or Soprano Saxophone for 4 years onwards | |||||||||
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| A series of atonal studies by the famous Jérôme Naulais | |||||||||
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| A perfect Piece for exams or auditions - for students playing Trombone for 10 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Trombone for 10 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Trombone for 10 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Trombone for 10 years onwards | |||||||||
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| A series of perfect Pieces for exams or auditions - for students playing Trombone for 10 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Clarint for 2 years onwards | |||||||||
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| " This piece allows the young trombonist to play with various attacks and nuances, and proposes a first approach of glissando and legato." - Patrick BOYER | |||||||||
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| A perfect Piece for exams or auditions - for students playing Oboe for 4-5 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Clarinet for 4 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Alto Saxophone for 4 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Flute for 4 years onwards | |||||||||
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| " Melodic composition targeted to "young" students where rhythms of half note, quarter note, eighth note, on beat, are exclusively used. " - Alain LOPEZ | |||||||||
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| " Melodic composition targeted to "young" students where rhythms of half note, quarter note, eighth note, on beat, are exclusively used. " - Alain LOPEZ | |||||||||
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| " A rhythmically simple composition that I wanted to be very melodic to encourage students to become familiar with repeated notes. " - Alain LOPEZ | |||||||||
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| " A rhythmically simple composition that I wanted to be very melodic to encourage students to become familiar with repeated notes. " - Alain LOPEZ | |||||||||
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| " A musical evasion with a legendary captain... " - Pascal PROUST | |||||||||
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| A perfect Piece for exams or auditions - for students playing Bassoon for 6 years onwards | |||||||||
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| A series of atonal studies by the famous Jérôme Naulais | |||||||||
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| A series of atonal studies by the famous Jérôme Naulais | |||||||||
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| A perfect Piece for exams or auditions - for students playing Trumpet for 3 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing F Horn for 3 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Oboe for 3 years onwards | |||||||||
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| A perfect Piece for exams or auditions - for students playing Clarinet for 2 years onwards | |||||||||
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| A collection of 4 virtuoso and descriptive pieces by Jean-Michel MAURY | |||||||||
