Solos For Flute Collection 7 Melodies By Women Composers
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Solos for Flute, Collection 7: Melodies by Women Composers by CLARK KIMBERLING Pdf
The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the flute, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, and phrasing. 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 recorder edition is available.
Solos for Soprano Recorder, Collection 7: Melodies by Women Composers by CLARK KIMBERLING Pdf
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.
For the flutist wishing to perform music composed by women, this annotated catalog will come as a most welcome addition to the numerous flute bibliographies now available. Boenke has spent four years gleaning all possible sources to come up with several hundred listings of composers from three centuries and 40 different countries. When the information is available, she lists publisher and the OCLC system record number after the routinely listed title and instrumentation. In addition to the alphabetical listing are indexes for instrumentation, title, publisher, and composer. A short list of sources is heavy on LC and NUC catalogs as well as the several standard sources on women in music. This volume could serve as an example for instrument-specific music bibliographies. For flutists it is priceless. Choice This book, an alphabetical listing of flute music by women composers, provides ready access to flute music that is published or available in manuscript form. Unlike any previous handbook of the flute repertoire, it is devoted entirely to the works of women, the vast majority of whom are not mentioned in the standard catalogs of flute literature. A carefully compiled study, the volume examines the quantity, variety, and scope of women's work in this genre and includes composers from more than forty countries, spanning three centuries. It contains works for solo flute, duets, flute and piano, concertos, woodwind quintets, other chamber ensembles, or any work that employs soloistic use of the flute. It also provides biographical information on the composers, publishers, availability of works, and annotations on the works themselves. All compositions are indexed by title and by instrumentation, and publishers and contemporary composers are listed with current addresses, to facilitate the ordering of music. The first published volume of its kind, this unusual work will draw attention to valuable and unknown repertoire in this genre and provide the opportunity for women's works to be heard more often. It will be useful in all university music libraries and conservatories, and it will be a valuable resource for professional flutists, teachers of flute, and researcher in women's studies.
Flute Music by Women Composers by H Alais Boenke Pdf
For the flutist wishing to perform music composed by women, this annotated catalog will come as a most welcome addition to the numerous flute bibliographies now available. Boenke has spent four years gleaning all possible sources to come up with several hundred listings of composers from three centuries and 40 different countries. When the information is available, she lists publisher and the OCLC system record number after the routinely listed title and instrumentation. In addition to the alphabetical listing are indexes for instrumentation, title, publisher, and composer. A short list of sources is heavy on LC and NUC catalogs as well as the several standard sources on women in music. This volume could serve as an example for instrument-specific music bibliographies. For flutists it is priceless. Choice This book, an alphabetical listing of flute music by women composers, provides ready access to flute music that is published or available in manuscript form. Unlike any previous handbook of the flute repertoire, it is devoted entirely to the works of women, the vast majority of whom are not mentioned in the standard catalogs of flute literature. A carefully compiled study, the volume examines the quantity, variety, and scope of women's work in this genre and includes composers from more than forty countries, spanning three centuries. It contains works for solo flute, duets, flute and piano, concertos, woodwind quintets, other chamber ensembles, or any work that employs soloistic use of the flute. It also provides biographical information on the composers, publishers, availability of works, and annotations on the works themselves. All compositions are indexed by title and by instrumentation, and publishers and contemporary composers are listed with current addresses, to facilitate the ordering of music. The first published volume of its kind, this unusual work will draw attention to valuable and unknown repertoire in this genre and provide the opportunity for women's works to be heard more often. It will be useful in all university music libraries and conservatories, and it will be a valuable resource for professional flutists, teachers of flute, and researcher in women's studies.
Playing Outside the Lines, Volume III by Leslie Anne Harrison Pdf
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
Solos for Soprano Recorder, Collection 1 by Clark Kimberling Pdf
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.
Solos for Flute, Collection 8: Eastern European & Jewish by CLARK KIMBERLING Pdf
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 flute, and they provide excellent material for developing skills in rapid tonguing, extended breath-control, and phrasing. 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. A separate recorder edition is available.
Solos for Flute, Collection 1 by CLARK KIMBERLING Pdf
A unique collection for the flute: 46 full-page solos, including arrangements of spirituals, folk songs, dance tunes, and melodies by African-American composers, plus five solos composed for this collection. Includes melodies by Basile Barès, A. J. R. Conner, Henry Hart, J. W. Postlewaite. Features previously unpublished solo by renowned Philadpelphia musician Francis Johnson, the earliest known composition by an African-American, dating from 1815. Favorites include Amen, Banyan Tree, Doctor Bird, and Ev'ry Time I Feel the Spirit. Supported by Internet-accessible melody-specific Historical Notes.Forty-six full-page solos for flute Arrangements of melodies by America's best known composers of African descent, as well as traditional melodies Internet-based melody-specific Historical Notes
Author : Helen Walker-Hill Publisher : Center for Black Music Rsrch Page : 128 pages File Size : 44,9 Mb Release : 1995 Category : Music ISBN : 0929911040
Analytical Essays on Music by Women Composers by Laurel Parsons,Brenda Ravenscroft Pdf
This volume is the first to appear in a four-volume series devoted to the work of women composers across Western art music. Each chapter opens with a brief biographical sketch of the composer before presenting an in-depth exploration of a single representative composition, linking analytical observations with questions of meaning and content. Chapters are grouped thematically into three sections, each of which places the analytical methods used in the essays into the context of late twentieth-century ideas and trends.
Though rarely included in traditional music history, women have a remarkable tradition as composers of Western music. This book brings together musical and biographical material on twenty-five women, from the eleventh through the twentieth centuries. Each chapter focuses on one composer, providing an introduction to her life, an analysis of her music, a checklist of her works, and a bibliography. Extensive appendices include a historical outline showing female composers in relation to their more famous male contemporaries by period and genre, and suggestions for further readings and recordings.
British Women Composers and Instrumental Chamber Music in the Early Twentieth Century by Dr Laura Seddon Pdf
This is the first full-length study of British women's instrumental chamber music in the early twentieth century. Laura Seddon argues that the Cobbett competitions, instigated by Walter Willson Cobbett in 1905, and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music written by women in this period and highlighted women's place in British musical society in the years leading up to and during the First World War. Seddon investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. The book’s six case studies - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - offer valuable insight into the women’s musical education and compositional careers. Seddon’s discussion of their chamber works for differing instrumental combinations includes an exploration of formal procedures, an issue much discussed by contemporary sources. The individual composers' reactions to the debate instigated by the Society of Women Musicians, on the future of women's music, is considered in relation to their lives, careers and the chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the book draws on primary sources, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.
Solos for Flute Collection 1 - African-american & Jamaican by Clark Kimberling Pdf
A unique collection for the flute: 46 full-page solos,including arrangements of spirituals, folk songs, dancetunes, and melodies by African-American composers, plusfive solos composed for this collection. Includes melodies by Basile Bar?�s, A. J. R. Conner, Henry Hart, J. W. Postlewaite. Features previously unpublished solo by renowned Philadpelphia musician Francis Johnson, the earliest known composition by an African-American, dating from 1815. Favorites include Amen, Banyan Tree, DoctorBird, and Ev'ry Time I Feel the Spirit. Supported by Internet-accessible melody-specific Historical Notes. Forty-six full-page solos for fluteArrangements of melodies by America's best known composers of African descent, as well as traditional melodiesInternet-based melody-specific Historical Notes