Grand succès pour le nouvel enregistrement de Philippe Bernold à la flûte et à la direction d’orchestre avec l’extraordinaire harpiste Emmanuel Ceysson et. Concert. Tribute to Aurèle Nicolet – music and readings of the correspondance between Frederic II and Voltaire. Thursday, October 6, PM. Philippe Bernold is an international soloist, a professor of flute and chamber music at the National Paris Conservatory, a sought-after conductor.
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Philippe Bernold, Professor of Flute at the Superior National Conservatory of Music in Paris, proposes an engaging form of new exercises based on the solo repertoire, chamber music and orchestra with more than 20 excerpts including works by Bach, Mozart, Bizet, Reinecke, Prokofiev, Debussy, Dutilleux, Messiaen Web Store Phone Number: Please enter the email address that you used during registration: Flute “The Wind, the Sound” is a workbook, which extends and amplifies the work discussed in “Technique of the Embouchure”, a work that has achieved great success.
In the form of articles that this remarkable flautist and teacher, heir to the French school of flute, explores with enlightenment his great educational experience.
Description Reviews Le souffle, le son – Exercices, extraits d’oeuvres du repertoire destines a maitriser la colonne d’air de la flute et acquerir bernole beau son Author: Click fltue to Contact Us Contact Us. Download our Android app.
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Philippe Bernold – Flute and Flutist (Korea)
Click here to see all locations. Our policies and services are designed to provide you flutte the ideal shopping experience. We will find new exercises on vocalisation, fundamental exercises to work on the base of the air column and energy of the breath, and propose exercises on improving the embouchure and on refining the end of phrases with the use of harmonics. Proudly Canadian since There are currently no reviews for this product, be the first to write one!
The length of breath and the use of legato playing are two new chapters with carefully selected works including orchestral excerptswhich permits the flautist to play with a term comparable to that of the singers.
The last part deals with fundamental subjects such as support, vibrato, the column of air, the movement of the jaw, the timbre, nuances