Solos For Soprano Recorder Collection 3 Irish Melodies

These lovely Irish melodies play especially well on the soprano recorder. They provide excellent material for developing skills in rapid tonguing, extended breath-control, and the playing of high notes. Many of these melodies have fascinating histories, dating from the 1700s up to the time of the Irish music publisher Francis O'Neill ­ who was also the Chicago chief of police. the collection includes jigs, reels, hornpipes, songs, fiddle tunes, hymn tunes, whistling tunes, and melodies by renowned Irish harper Turlough Carolan. Although arranged primarily for soprano recorder, most of the solos can be played on tenor or alto recorder. (On the alto, use 'C' fingerings.) A separate flute edition is available.

These lovely Irish melodies play especially well on the modern flute. They provide excellent material for developing skills in rapid tonguing and extended breath-control. Many of these melodies have fascinating histories, dating from the 1700s up to the time of the Irish music publisher Francis O'Neill – who was also the Chicago chief of police. the collection includes jigs, reels, hornpipes, songs, fiddle tunes, hymn tunes, whistling tunes, and melodies by renowned Irish harper Turlough Carolan. A separate recorder edition is available.

Volume III of Playing Outside the Lines is the third of a comprehensive four-part Irish flute method book series offering beginning to advanced Irish traditional flute instruction for Boehm and simple system flutists in graduated books, chapters, and exercises. Building on the foundation provided in the first two books of the series, Volume III dives into more complicated Irish traditional flute ornamentation such as rolls, short rolls, crans, and breath-ornament techniques. Volume III contains ornamentation fingering charts; advanced ornamentation options, explanations, and placement guidelines; 62 accompanying audio tracks; and more than 170 exercises. Playing Outside the Lines is the first Irish flute method book series of its kind, containing more than 600 technical exercises, rich and nuanced discussions of Irish flute style and cultural context, previously undocumented techniques, side-by-side explanations for Boehm and simple system flutists (as well as information for musicians transitioning between the two instruments), audio excerpts, simple system flute care and purchasing information, and resources for further study. By the end of the four-part series, Boehm and simple system flutists of any background will have the tools necessary to play Irish music with a deep understanding of the tradition as well as with individual creativity. “A fantastic bible of Irish flute playing. Harrison is a very meticulous and thorough author.” —Viviana Guzman, The Flute View Magazine “An invaluable resource for any flutist.” —Brook Ferguson, Principal Flutist of the Colorado Symphony Orchestra “Leslie Anne Harrison’s Playing Outside the Lines is a marvelous gift to all interested in Irish music. Her clear and detailed writing is a huge boon to those embracing the traditional Irish flute and is truly enlightening to those (like me) who want to delve into this music while playing the Boehm flute. From tiniest detail to largest form, Leslie Anne Harrison is there every step of the way. Playing Outside the Lines is a major contribution to flute pedagogy.” —Robert Dick, Performer and Author of The Other Flute

These English, Scottish, and Welsh melodies are especially well suited to performance on the soprano recorder. They also provide excellent material for developing skills in rapid tonguing, extended breath-control, phrasing and the playing of high notes. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. (On the alto, use C fingerings.) Old favorites include Bunessan, Colonel Bogey, My Eyes are Fully Open, and a few masterpiece solos by Handel and Purcell. Among the newly re-discovered gems are Earl Grey, I Wish You Would Marry Me Now, Kiss Me Quick My Mother Is Coming, and Small Birds Sweetly Singing. A separate flute edition is available.

The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the soprano recorder, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, phrasing, and the playing of high notes. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. (On the alto, use "C" fingerings.) Three of the world's most famous melodies are here: Mildred Hill's "Happy Birthday" (originally "Good Morning to You"), Euphemia Allens' "Chopsticks" (originally "The Celebrated Chop Waltz"), and Effie Corckett's "Rock-a-Bye, Baby." Less well known delights include Faustina Hodges' "Because I'm Twenty-Five" and Florence Percy's "Fly Away," as well as Amanda Aldridge's "Dance of the Warriors"-and the list goes on and on. A separate flute edition is available.

These American melodies sound great on a soprano recorder. They also provide excellent material for developing skills in rapid tonguing, extended breath-control, and the playing of high notes. This collection covers many kinds of music. Millions of Americans grew up singing Attisket Atasket, Put Your Little Foot, and Paddywhack. Immigrants brought delights like First Night in America and My Love Is in America. John Philip Sousa captured the Americana of his time in marches for all time, such as the Fairest of the Fair, King Cotton and Boy Scouts of America. All across the country, Americans sang and whistled Nine Hundred Miles, Gypsy Dave, and Pie in the Sky. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. (On the alto, use C fingerings.) A separate flute edition is available.

These 45 early-American melodies work especially well on the soprano recorder. They provide excellent material for developing skills in rapid tonguing, extended breath-control, and the playing of high notes. Many of these melodies have roots in the Old World. for example, La Cachucha, La Cracovienne, and La Smolenska were brought to America by the amazing ballerina Fanny Elssler. (For her White House performance, Congress adjourned early!) Although arranged primarily for soprano recorder, most of the solos can be played on tenor or alto recorder. (On the alto, use C fingerings.) A separate flute edition is available.

This collection is a treasury of melodies originating in Russia, Latvia, Poland, Bulgaria, Yugoslavia, and Hungary, including several from Yiddish and Klezmer sources. the solos are especially well suited to performance on the soprano recorder, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, and the playing of high notes. Arrangements of charming Russian folk tunes include Against the Red Sun and Jump Little Rabbit. Among old favorites are March Slav and In the Field Stood a Birch. Jewish melodies include Hava Nagilah, Hevenu Shalom Alechem and Varnitschkes. Although arranged primarily for soprano recorder, most of these solos can be played on tenor or alto recorder. (On the alto, use C fingerings.) A separate flute edition is available.