![]() THREE IN ONE/ It contains 3 separate well-crafted accompaniments from the printed scores for three of the most popular SWEET PIPES publications. It is recorded once with Flute and Guitar. The CD maybe used for listening or as a play-along. Guitar chords are included in the music and informat about each carol. The less-known carols are: Let It Sound, We Sing in Celebration, A Babe is Born, Down in Yon Forest, He Is Born the Holy Child, Corde Natus, Saint Basil's Hymn, Here Between Ass and Oxen Mild. Lots of fun Holiday playing!ĬHRISTMAS MUSIC FOR FLUTE (TENOR or SOPRANO RECORDER) in the European Tradition/ Twenty-one traditional, Medieval & Renaissance Carols with variations by Allan Alexander. For ALTO RECORDER, 57 page recorder/flute part. This book is also compatible with the other books in this series for Clarinet, Sax, Trumpet, Horn & Trombone. Some individual songs are Feliz Navidad, Let It Snow!, Lo, How a Rose E'er Blooming, The Little Drummer Boy, O Holy Night and many more. Some are grouped into medleys like Folk Carol Suite: 1. There are 43 Christmas traditional carols & popular songs. Also included on the MP3 CD are piano accompaniment parts. ULTIMATE CHRISTMAS INSTRUMENTAL SOLOS with MP3 CD with fully orchestrated accompaniment includes a DEMO track of each song followed by a PLAY-ALONG track. The tunes are not technically difficult but the ability to pick up the tempo, meter and count is necessary. ![]() If your ensemble skills are a bit weak, it is suggested you listen to the first section as a guide. Folk songs are about play, work, love and death, dancing -everything. Lyrics are included they are integral to knowing the songs. The lovely accompaniments were composed by Anita Briggs. Includes Aura Lee, Little Brown Jug, Shaker Blessings, Red River Valley, Wayfaring Stranger, Shenandoah, The Water is Wide, Morning Has Broken Amazing Grace The first 34 tracks are performed by Jessica Wash, recorder and Andrew D. Outstanding artists have been contracted to record works by major composers with the solo line left out - all are for alto recorder - upper intermediate to advanced Easy | Easy-Medium | Medium | Medium-Advanced | Advanced | Sacred | Xmas | Jewish Part Number and DescriptionĪMERICAN FOLK MUSIC with CD 34 of the most beautiful American Folk Tunes. Soprano or Tenor Recorder and CDĪll MPxxxx titles below are from MUSIC PARTNERS: Professional CD accompaniments - all it needs is you! Offering the instrumental soloist the possibility of ensemble playing for enjoyment or study. All selections have been recorded twice, once with the recorder part and once without it. This also makes it possible for another recorder player to accompany on the bass recorder. To make it easier for the student to follow along, both the recorder and bass parts are included in the written music. In conclusion, new teaching tools animate repertoire largely inaccessible in traditional studios.All VHRxxxx titles below are part of the RECORDER AND MORE by Winifried Hackl The classic play-a-long: Created by a teacher and player to fill a need - the lack of adequate accompanists and to provide the challenge and motivation to make music with other musicians and various types of instruments. Using the methodology of periodization training for athletes, the author provides a cogent solution for these deficits. (t)air(e) (1980-83) for solo flute by Heinz Holliger is used to illustrate such challenges. Stamina building has been a neglected topic. In works of the extreme complexity, demands of breath control are often excessive. ![]() The final section highlights a shortcoming in the pedagogy thus far. The progression teaches body awareness by emphasizing projection of sound through greater physical energy. This program builds on the acoustical similarities of each technique to allow greater continuity in teaching plans. Regarding extended techniques themselves, the author develops a study program stemming from the teaching methods of Robert Dick and Carin Levine. Using extended techniques to reframe and solve common technical problems offers new motivation to learn contemporary repertoire. Practical solutions for studying new scores are also given. Through a newly graded repertoire list, flutists have access to modern works in every level of flute study. Tools to encourage greater involvement in new music are developed. ![]() The author identifies causes and finds solutions to this problem. The lack of new music studied in university programs lies in the complexity and difficulty of the repertoire. Differences in approach, from Boulez to jazz, are correlated with the students’ partiality towards new music. Abstract The dissertation begins by surveying university flute students and their teachers about their experiences with extended techniques.
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