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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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| " 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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| " 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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| " 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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| " 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 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 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 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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| " The purpose of this composition is to familiarize yourself with the unusual 5/4 metric, often associated to the famous jazz standard by Paul Desmond, Take Five. Rhythms and articulation are varied but without major difficulty. This îece is dedicated to the saxophonist "Michel Itier". " - Alain LOPEZ | |||||||||
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| A very nice composition for clarinet, brilliant and virtuoso | |||||||||
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| In this first movement of the sonata, be careful not to accent the quaver in the Barcarolle rhythm so that the phrase doesn't become too heavy. In the central section, you should be more "feverish" but master your touch carefully so that the result is always limpid. - RENAUD ESCRIVA | |||||||||
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| In this second movement of the sonata, the articulations should be carefully pronounced to remain clear and intelligible in spite of the tempo. Use a light homogeneous staccato across the whole range and don't force the sound when the dynamics are loud; you will achieve like that an ample sound which is well balanced with the piano. - RENAUD ESCRIVA | |||||||||
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| In this third movement, you should contrast the registers as if they are separate instruments responding to each other. Your bass "quasi funèbre" should be ample and sonorous, though without acidity, whilst for your treble you should look for a very gentle flute sound, distant and without vibrato. - RENAUD ESCRIVA | |||||||||
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| There is a mysterious anguish which floats throughout this brillant fourth movement. The agitation and feverishness of your playing should reflect this latent anguish. At the conclusion, which refers to the first movement, avoid accenting the quaver in the Barcarolle rhythm which risks making the phrasing too heavy. - RENAUD ESCRIVA | |||||||||
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| This Sonata in 4 movements comes from a group of 3 Sonatas for wind instruments (oboe, clarinet and bassoon) composed in May and june 1921. They are the last in the catalogue of Saint-Saëns' works. - RENAUD ESCRIVA | |||||||||
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| " AABA form of Latin music which gives meaning to the work of opposed nuances. On the pedagogical side, some unusual rhythms at this level are proposed. " - Alain LOPEZ | |||||||||
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