Par SALKELD ROBERT. First published by Chappell\'s in the late 1960s, Robert Salkeld\'s Play The Recorder is a truly established method for recorder. Suitable for the self-taught, or for individual or group teaching, this methodical approach not only introduces the notes to be learned, but helps develop sound, expression and technical skills. Each section identifies fingering, breathing, tonguing and reading needs. This book continues the work commenced in Book 1 with more solos and duets and more advanced chromatic notation.   / Methods

Territorial Songs (2009) for Recorder solo and Orchestra by the Faroese composer Sunleif Rasmussen. Part for solo Recorder. Full score: WH32043

A superb cycle of 7 songs depicting the hero's stay on Grandma's farm somewhere in the Orkneys one summer. The songs tell of the farm chores nature and ghosts and are arranged for unison voices piano recorders and pitched or unpitched percussion. The songs can be used individually to link in with topic work or performed as an attractive concert item. Recorder part.This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Par NAFILYAN HENRI. / Niveau : Intermédiaire / classique / Répertoire / Flûte à Bec Basse ou Alto

Par ROLIN ETIENNE. / Niveau : Intermédiaire / classique / Répertoire / Flûte à Bec Solo

Sous-titre : pour biwa et skakuhachi Compositeur : Toru Takemitsu Édition musicale : Editions Salabert Instrumentation : Recorder and other instruments Type de produit : Conducteur Année d'édition : 2005 ISMN : 9790048058422

The Chinese Pictures for solo flute (s) (1993) were composed for the premiere played by the solo flutist Walter van Hauwe but Yun also wished for a performance by German flutes. The four pieces which Yun composed in June 1993 in Hohegeiß/ Harz are characterised by the reduced structural capacity of his style the memories of far eastern flute-idioms - with the exceprion of the third piece Der Affenspieler - and a Buddhist pattern. Yun consistently limits his work: all pieces come from techniques of the evolved variations and contrastive adaptions from (repsectively different) two- or three-toned themes. The first two pieces have the contemplative tenor as well as the spiraldramaturgy of the upward auched semi-circle the archetypal symbol for heaven in common. However the themes are conflictive: Bigger intervals abound the single tone in I. Der Besucher der Idylle whereas the tight coupling with the 'main tone' through smaller intervals in II. Der Eremit am Wasser evoke a softer sound. This clearly mirrors the impression of the single tone as a brush mark. Both pieces are - just like IV. Die Hirtenflöte - inspired by various variations of the story of the shepherd and his ox which in east Asia is used to name the 'inner child' of a human. The title if the first piece in the autograph is Der Besucher der Eremitage and refers to Buddhist hermitage. The visitor of this idyll is the farmer who leads his ox to the water for him to drink. The continuation of this parable is expressed by the second piece Der Eremit am Wasser. Together with the farmer the hermit comes to the water and rinses his ears. The farmer asks him why he would do that and the hermit responds: 'I was in town at the royal palace. I was to be empoloyed as sergeant and got offered a good payment. But when I asked what I had to do I heard terrible things. That is why I have to rinse my ears. ' The farmer however is disgusted by the contamination of the water; he leaves the fountain without letting his ox drink. The title of the third piece