Santorella Publications' proudly boasts our connection to some of the best studio players in the Los Angeles studio circuit. Each one of these great musicians, when they are not in a session or performing on a new movie soundtrack, are giving lessons to horn players of all ages. Santorella Publications is setting a new trend in the industry by making it possible for you to study with these talented professionals in a virtual world with Learn From A Pro. Mark Hollingsworth will walk you through all 23 lessons as if you're sitting in a studio by his side. If you went to Los Angeles and took 23 lessons, it would cost over $1,000.00. Now you can Learn "Flute" From A Pro for only $12.95 and in the privacy of your own home. Whether you are an early beginner or an adult, here is your chance to fulfill that dream. Do something for yourself and learn to play today with Santorella's Learn From A Pro series. About your private instructor, Mark Hollingsworth Mark Hollingsworth began studying music at five years of age. His background includes both classical and jazz training. After high school Mark won a scholarship from Berklee College of Music in Boston and graduated Magna Cum Laude, with a major in woodwind performance. Mark has over fifteen years experience as a studio musician in Los Angeles recording for movies, albums, television broadcasts and numerous "jingles" as well as cartoons for Warner Brothers and Walt Disney. He has also performed in concerts with a wide range of artists including Quincy Jones, Natalie Cole, Celine Dion, Whitney Houston, Donna Summer and Manhattan Transfer to name a few. Some of Mark's most significant accomplishments include memorable television appearances with Stevie Wonder, Ray Charles, Michael Bolton and Michael McDonald . He has worked on numerous recordings with Tom Petty, Luther Vandross, U2, the Library of Congress and soundtracks for the Ren and Stimpy show. Mark's musical breadth also includes skills on an extensive collection of flutes from around the world. For more information about Mark Hollingsworth visit: www.windshoremusic.com.

(22 Full Band Arrangements Correlated to Accent on Achievement (Flute)). By John O'Reilly and Mark Williams. Concert Band. For Flute. Band Supplement; Book. Accent on Performance. 24 pages. Published by Alfred Music

Flute - easy

SKU: BT.DHP-1185911-404

Flute. Arranged by Markus Schenk. Look, Listen and Learn. TV-Film-Musical-Show. Book with Online Audio. Composed 2018. 33 pages. De Haske Publications #DHP 1185911-404. Published by De Haske Publications (BT.DHP-1185911-404).

ISBN 9789043154710. English.

Look, Listen and Learn has set the standard for contemporary brass and woodwind teaching. These exciting method book/CD packs for beginners engage students and develop their understanding of music and their instrument through songs, puzzles, games and lots of fun pieces to play. Three progressive method books form the basis of the series, enhanced by several corresponding supplementary volumes.

Some of the most beautiful melodies from the world of music theatre over the last several decades are collected together in Play Musicals. They have been arranged in increasing order of difficulty in such a way that they can be used in conjunction with all three volumes ofLook, Listen and Learn. Students can also play along to the provided accompaniment tracks which are available to download or stream.

Flute

SKU: ST.C311

Composed by Mark Tanner. Wind & brass music. Clifton Edition #C311. Published by Clifton Edition (ST.C311).

ISBN 9790570813117.

An Advanced Guide to Quicker Learning

Know The Score is a guide to quicker learning for advanced flautists. It was originally published in 2012 and designed with the DipABRSM Quick Study in mind – a previously unseen extended piece of music for which 5 minutes preparation time was given prior to an assessed performance. The music was at roughly grade 6 level, based on an assumption that a diploma standard player should be capable of tackling the test in this relatively short amount of time. Following the recent withdrawal of the qualification, the continued aim of this newly edited series is to boost the more advanced player’s confidence at quick learning. Two assumptions are made here — that you are a diploma level flautist, and that a reasonable level of sight-reading skill is in place. That said, if you’re less proficient at sight-reading, you should find much in the book that will help you to improve and feel more confident. Alternatively, the book will be of interest to teachers seeking varied, approachable repertoire and theory content to support a keen grade 6 pupil’s longer-term learning. The book contains 15 original quick study pieces, 8 of which have guides.

By Johann Sebastian Bach. Edited by Besseler, Heinrich; Wenzinger, August. For Flute solo, Violin Solo, Harpsichord Solo, violin, viola, violoncello, basso continuo. Score; Urtext Edition. BWV 1050. Duration 21. Published by Baerenreiter-Ausgaben (German import).

By Elisabeth Rowe. For Flute. Book; DVD; Method/Instruction; Woodwind - Flute Method or Collection. The Ultimate Beginner Series. Beginner. 48 pages. Published by Alfred Music Publishing

Flute solo

SKU: BR.EB-8355

Composed by Immanuel Lucchesi. Edited by Immanuel Lucchesi. Solo instruments; Softbound. Edition Breitkopf. Music pedagogy. Score. 128 pages. Breitkopf and Haertel #EB 8355. Published by Breitkopf and Haertel (BR.EB-8355).

ISBN 9790004176627. 9 x 12 inches.

The most important prerequisite for success in studying the instrument is the ability to practise in a meaningful and rational manner - i. e. to aim at a steady progress through regular and purposeful application, with the least possible expenditure of time and energy. One can only be sure of making improvement when one practises daily, and as one improves so confidence grows and there is a proper basis for success. In this connection it should always be noted that the choice and the demands of individual exercises in respect of range and difficulty of technique and musicality should refer to the standard attained at the relevant time. In the whole curriculum the study has a very important place. In that it is by way of being and exercise, it deals with particular problems of playing in different compositional guises, and shows the necessary link between purely technical and mechanical matter and the literature (including that for concert use) of the instrument. When beginning work on a study the first thing to do is to determine the central problem posed by the composer. For this reason the study should first be read through so that the contents may be grasped and the transference of notes into sound as far as possible be accomplished. Breathing marks are to be put in at appropriate places. Then the study can be played through in slow time, with exact control of all the parts of the body involved in order to avoid inexactness.

76 etudes for daily practice.