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Her music is regularly performed world-wide. 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Now, her most popular piece still regularly being performed is this Flute Concertino in D major, Op. 107, which was composed for the 1902 Paris Conservatoire Concours, presumably as an examination piece for flute students. It opens with a broad melody, with a highly decorative solo part. 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For advanced performers.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrinx Music","offers":[{"title":"Default Title","offer_id":40355486276,"sku":"PP191","price":49.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1548\/4529\/products\/448930057.jpg?v=1494571423"},{"product_id":"hyde-m-autumn-in-princes-gardens","title":"Hyde, M - Autumn In Princes Gardens","description":"\u003cp\u003e\u003cstrong\u003eDescription:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAutumn In Princes Gardens by Miriam Hyde for Flute and Piano. 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Grade 6 standard.\u003c\/span\u003e\u003c\/p\u003e","brand":"Syrinx Music","offers":[{"title":"Default Title","offer_id":40355978500,"sku":"E54464","price":22.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1548\/4529\/products\/401079607.jpg?v=1494571848"},{"product_id":"hyde-m-sonata-in-g-minor-for-flute-and-piano-wirripang","title":"Hyde, M - Sonata in G minor for Flute and Piano (Wirripang)","description":"Flute \u0026amp; piano - composed 1962","brand":"Syrinx Music","offers":[{"title":"Default Title","offer_id":40973369092,"sku":"FL1-HYDE-1","price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1548\/4529\/products\/0701037020.jpg?v=1495280218"},{"product_id":"bayreuth-wilhelmine-von-sonata-in-a-minor-for-flute-and-basso-continuo-furore","title":"Bayreuth, Wilhelmine von - Sonata in a minor for flute and basso continuo (Furore)","description":"\u003cp\u003e\u003cstrong\u003eDescription:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe flute sonata, which was only recently discovered and is printed here for the first time, is the second autograph manuscript of Wilhelmine von Bayreuth known at present. 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Lili had contracted intestinal tuberculosis -- now called Crohn's disease -- at a very early age and had spent her whole life in fragile health. On July 30, 1917, Dr. Thierry de Martel performed an appendectomy, hoping this might extend her life. It is known that Lili began to compose \"D'un soir triste,\" (\"Of a sad evening\"), in December 1917. This is the companion piece to \"D'un matin de printemps.\" She began this latter piece for violin and piano in spring 1917, although she probably finished the orchestrated version in 1918, and so there the discrepancy lies. These two pieces were the last compositions that Lili wrote of her own hand. After this, she was too weak to write her own music; however, she was desperate to keep composing -- which she did with the help of her sister, Nadia -- and to finish her opera, \"\"La Princesse Maleine,\" which unfortunately she never completed.\u003c\/p\u003e\n\u003cp\u003eLili Boulanger wrote \"D'un matin de printemps\" in three different arrangements: One for violin or flute and piano, another for piano trio, and still another as an orchestral arrangement. Although Lili finished both works, Nadia added the finer editings and details of dynamics.\u003c\/p\u003e\n\u003cp\u003e\"D'un matin de printemps\" and \"D'un soir triste\" are alike in many ways. Their melodic lines are comparable and show similarities in themes. They are both written in the Impressionistic style; however, these differ in that they stray from the close ties to Debussy's writings that Lili had adhered to in the past., They are also dissimilar, as \"spring morning\" is fast and lively, and \"sad evening\" is slow and melancholy.\u003c\/p\u003e\n\u003cp\u003eIn the orchestral version of \"D'un matin de printemps,\" the flute begins with the main theme, which then travels throughout the woodwind section. The strings are dancing in ¾ time underneath the melodic line, in a happy, joyous manner. However, a sadness does pervade this piece, as it ritards, then builds in dynamics and orchestration, into a beautiful array of musical lines. It then continues almost abruptly on its merry way. Lili's use of orchestration is masterful and belies her youth. In the piano and violin version, the violin strongly plays the lively themes, while the piano imitates the dancing quality of the strings in the orchestral version. Both renditions are equal in quality, possibly because Lili did not compose the piano and violin version as a predecessor to its orchestral equivalent, but meant for all three versions (including the trio) to stand on their own. 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This book introduces new technical concepts in a way that will inspire your personal practice and energize your teaching.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/IqdjFTdMVUM?si=ZBCXbKyUrTTSdMSi\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBreathing\u003cbr\u003eTone\u003cbr\u003eDynamics\u003cbr\u003eTone Colour\u003cbr\u003eIntonation\u003cbr\u003eFinger technique\u003cbr\u003eArticulation\u003cbr\u003eTrills and ornaments\u003cbr\u003eExtended techniques\u003c\/p\u003e\n\u003cp\u003e+ Practice Tips and Warm Ups \u003c\/p\u003e","brand":"Syrinx Music","offers":[{"title":"Default Title","offer_id":44661304260,"sku":"FWPR","price":58.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1548\/4529\/products\/Practical-Routines_smaller_600x600_e3fee6dd-4963-40d2-a8f2-280a9ffe3d44.jpg?v=1499402054"},{"product_id":"potter-c-three-vocalises-for-alto-flute","title":"Potter, C - Three Vocalises for alto flute","description":"\u003ch5\u003e\u003cstrong\u003e2018 NEWLY PUBLISHED MUSIC COMPETITION RESULTS\u003c\/strong\u003e\u003c\/h5\u003e\n\u003ch5\u003e\u003cstrong\u003eLow Flutes\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan mce-data-marked=\"1\" style=\"color: #0000ff;\"\u003e\u003cstrong\u003eWinner\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e3 Vocalises\u003cbr\u003eFor Alto Flute and Piano\u003cbr\u003eArranged by Chris Potter\u003cbr\u003ePublished by Falls House Press\u003cbr\u003eIncludes score and alto flute part\u003c\/p\u003e\n\u003cp\u003eContents:\u003cbr\u003eVocalise (Rachmaninoff)\u003cbr\u003eVocalise (Faure)\u003cbr\u003eVocalise en forme de habanera (Ravel)\u003c\/p\u003e\n\u003cp\u003eFollowing the popularity of her previous transcriptions for low flutes in the Falls House catalog, Chris Potter has selected the beautiful vocalises of Rachmaninoff, Faure, and Ravel, and created settings for Alto Flute and Piano. Dr. Potter has carefully chosen the most idiomatic keys for each transcription. 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Dr. Potter has carefully chosen the most idiomatic keys for each transcription. Sharing her expertise, she has provided prefatory notes and performance suggestions. \u003c\/p\u003e","brand":"Syrinx Music","offers":[{"title":"Default Title","offer_id":50684751172,"sku":"FH0492","price":48.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1548\/4529\/products\/37F180FH0492_-_cover.jpg?v=1504577524"},{"product_id":"ann-cameron-pearce-african-noel-for-4-flutes-or-flute-choir","title":"Ann Cameron Pearce - African Noel for 4 flutes or flute choir","description":"\u003cp\u003eAfrican Noel\u003cbr\u003eArranged for Flute Choir by Ann Cameron Pearce\u003cbr\u003eFor 4 C Flutes or 2 C Flutes, Alto Flute and Bass Flute, with optional Rattle and Drums\u003cbr\u003ePublished by Falls House Press\u003cbr\u003eIncludes score and parts\u003c\/p\u003e\n\u003cp\u003eThe momentum of this arrangement begins with a two-pitched drum and a rattle, continues as each flute enters in turn, and builds to a rousing climax. Two main themes are introduced and then intertwine with the addition of a counter melody before the composition gradually decreases in intensity to its quiet conclusion. Accents and syncopated figures abound for all parts. Four C flutes can provide a good performance of this energetic piece, but the addition of alto and bass flutes provides more interesting tonalities.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CxtFvaEqtck\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Syrinx Music","offers":[{"title":"Default Title","offer_id":52133233732,"sku":"FC-ACP1","price":37.5,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1548\/4529\/products\/41F180FCACP1-cover.jpg?v=1512177772"},{"product_id":"hart-scatadoodledoo-jazz-pieces-for-solo-flute","title":"Hart - Scatadoodledoo - Jazz pieces for solo flute","description":"\u003cp\u003eA great little book that is progressive and introduces the concepts of scatting, singing and playing as well as improvisation. You too can beat box!\u003c\/p\u003e\n\u003ch3\u003eComposer's Notes\u003c\/h3\u003e\n\u003cp class=\"description\"\u003e\"The story behind Scatadoodledoo:\u003c\/p\u003e\n\u003cp class=\"description\"\u003e\"One day when I was at home practising my flute for a Jazz gig, I had a particularly hard chart with lots of key changes and I just couldn't get into the flow of it. I was thinking logically and thinking of the chord symbols and just thinking, thinking, thinking which anyone who improvises knows is a sure way to stop you being \"in the flow\". Being a Jazz singer, I love to scat sing and so I soon found myself putting my flute down and scat singing through the chart instead. I wasn't thinking, I was just scatting around with my \"do-be-doos\" and I was really getting into it and enjoying myself, feeling so free in comparison to when I was improvising on the flute. That's when I had the idea to sing and play on my flute at the same time… I figured that all I needed to do was practice playing on my flute what I was singing at the same time and I'd be sorted with this hard chart in front of me. I started off simply at first, but the more I practised, the more I found my voice and fingers working together until it literally felt like they were \"one\" and I was \"singing my flute\". Then when I took my voice out of it and all that remained was the sound of my flute, that feeling of \"singing\" still remained and I felt a freedom in my flute improvising that had been missing before. This discovery completely changed my jazz flute playing and to this day it is still my favourite way of practising improvising.\u003c\/p\u003e\n\u003cp class=\"description\"\u003e\"Scatadoodledoo\" is to encourage all jazz flautists to start thinking of their flute as the voice they are scat singing with. The pieces range from grade one through to grade eight. 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For me, it is the context and the feel of the action that matters. A long climb, for example, might signal something important to come (and often hard to deliver on!). A short climb, on the other hand, might be just a hop to another phrase. One can’t, however, just go up. There should be a counteracting action which is either going down or staying the same to provide a tension within the piece. (I think some of our great composers, especially Beethoven, were aware of the power of the interaction of these \"actions.\") \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe main theme in \u003c\/span\u003e\u003cb\u003eRising\u003c\/b\u003e\u003cspan\u003e is an ascent motion using different kinds of scales — mostly octatonic or chromatic — and occasionally arpeggios. 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