Solos For Soprano Recorder Collection 4 Am Melodies To 1865

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.

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.

For advanced soprano recorder or intermediate flute: 41 arrangements based on spirituals, folk songs, dance tunes, and melodies by African-American composers, plus five solos composed for this collection. Composers include Basile Barès, A. J. R. Conner, Henry Hart, Francis Johnson, and J. W. Postlewaite. Old favorites include Banyan Tree, Carry Me Back to Old Virginny, Doctor Bird, Down by the Riverside, and Ev'ry Time I Feel the Spirit. Includes fingering chart for high notes, performance notes, and suggestions for use with sound system and/or percussion. Supported by Internet-accessible melody-specific Historical Notes for all the solos.

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.

This collection is a treasury of melodies originating in Russia, Latvia, Poland, Bulgaria, Yugoslavia, and Hungary, including several from Yiddish and Klezmer sources. Thesolos are especially well suited to performance on the soprano recorder, and they provide excellent material for developing skills in rapid tonguing, extendedbreath-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 includeHava 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

For advanced soprano recorder or intermediate flute: 41 arrangements based on spirituals, folk songs, dance tunes, and melodies by African-American composers, plus five solos composed for this collection. Composers include Basile Bar?¿s, A. J. R. Conner, Henry Hart, Francis Johnson, and J. W. Postlewaite. Old favorites include Banyan Tree, Carry Me Back to Old Virginny, Doctor Bird, Down by the Riverside, and Ev'ry Time I Feel the Spirit. Includes fingering chart for high notes, performance notes, and suggestions for use with sound system and/or percussion. Supported by Internet-accessible melody-specific Historical Notes for all the solos.

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