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 ‚Äö√Ñ√∂‚àö√ë‚àö‚à´C‚Äö√Ñ√∂‚àö√ë‚àöœÄ fingerings.) Three of the world‚Äö√Ñ√∂‚àö√ë‚àö¬•s most famous melodies are here: Mildred Hill‚Äö√Ñ√∂‚àö√ë‚àö¬•s ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Happy Birthday‚Äö√Ñ√∂‚àö√ë‚àöœÄ (originally ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Good Morning to You‚Äö√Ñ√∂‚àö√ë‚àöœÄ), Euphemia Allens‚Äö√Ñ√∂‚àö√ë‚àö¬• ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Chopsticks‚Äö√Ñ√∂‚àö√ë‚àöœÄ (originally ‚Äö√Ñ√∂‚àö√ë‚àö‚à´The Celebrated Chop Waltz‚Äö√Ñ√∂‚àö√ë‚àöœÄ), and Effie Corckett‚Äö√Ñ√∂‚àö√ë‚àö¬•s ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Rock-a-Bye, Baby.‚Äö√Ñ√∂‚àö√ë‚àöœÄ Less well known delights include Faustina Hodges‚Äö√Ñ√∂‚àö√ë‚àö¬• ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Because I‚Äö√Ñ√∂‚àö√ë‚àö¬•m Twenty-Five‚Äö√Ñ√∂‚àö√ë‚àöœÄ and Florence Percy‚Äö√Ñ√∂‚àö√ë‚àö¬•s ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Fly Away,‚Äö√Ñ√∂‚àö√ë‚àöœÄ as well as Amanda Aldridge‚Äö√Ñ√∂‚àö√ë‚àö¬•s ‚Äö√Ñ√∂‚àö√ë‚àö‚à´Dance of the Warriors‚Äö√Ñ√∂‚àö√ë‚àöœÄ-and the list goes on and on. A separate flute edition is available.