Selections from <i>Rolling Stone</i> Magazine's 500 Greatest Songs of All Time: Instrumental Solos, Volume 2 Cover Image

Selections from <i>Rolling Stone</i> Magazine's 500 Greatest Songs of All Time: Instrumental Solos, Volume 2: Flute Book & CD

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Selections from <i>Rolling Stone</i> Magazine's 500 Greatest Songs of All Time: Instrumental Solos, Volume 2 Cover Image

Selections from Rolling Stone Magazine's 500 Greatest Songs of All Time: Instrumental Solos, Volume 2: Flute Book & CD

Arr. various, ed. Bill Galliford

Level: 2-3

Item: 00-30842

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Description
12 of the best songs, all chosen from Rolling Stone® magazine's "500 Greatest Songs of All Time." Titles include: All I Have to Do Is Dream * Blueberry Hill * Dancing Queen * (Your Love Has Lifted Me) Higher and Higher * Hotel California * How Deep Is Your Love * I Got You (I Feel Good) * In the Midnight Hour * (I Can't Get No) Satisfaction * Spirit in the Sky * A Whiter Shade of Pale * You Send Me

An instrumental series arranged for Flute, Clarinet, Alto Sax, Tenor Sax,Trumpet, Horn in F, and Trombone, the arrangements are completely compatible with each other and can be played together or as solos. Each book contains a carefully edited part that is appropriate for the Level 2-3 player, and a fully orchestrated accompaniment CD. The CD includes a DEMO track of each song, which features a live instrumental performance followed by a PLAY-ALONG track.

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Sample Pages

Sample Audio
1 (I Can't Get No) Satisfaction (Tenor Sax) --:--
2 Hotel California (Alto Sax) --:--

(I Can't Get No) Satisfaction (Tenor Sax)

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Sample Video
Additional Details
Series: Rolling Stone Magazine's 500 Greatest Songs of All Time
Publisher: Alfred Music
Page Count: 28
ISBN10: 0-7390-5476-7
ISBN13: 978-0-7390-5476-5
UPC: 038081333991
SKU: 00-30842
Instrumentation: Flute

More about this title

Why we love this

Rolling Stone's canonical list gives you instant credibility and student recognition. These arrangements strike a real balance between accessibility and authenticity, keeping the melodic character of each song intact while staying within the technical grasp of emerging flutists. The demo-plus-play-along format means students hear exactly what they're aiming for before they dive in.

What to expect

This collection lets you play the songs you've heard on the radio and in movies. From the smooth soul of 'I Got You (I Feel Good)' to the soaring rock of 'Hotel California,' each arrangement preserves what makes the original memorable while giving the flute room to shine as the lead voice.

Who it's for

Flutists in their second or third year of study who are ready to move beyond beginner method books but still need support from well-crafted arrangements. These pieces work for anyone wanting to build confidence through music they actually care about hearing.

How to get the most out of it

  • Use the demo tracks to familiarize yourself with phrasing and style before tackling the play-along version. Each song has its own rhythmic pocket, and hearing it first keeps you from imposing classical articulation onto pop idioms.
  • Pay attention to the exact tempo on the play-along track. These are pop and soul songs with groove; rushing or dragging will pull you out of the pocket fast.
  • Listen for how the recorded accompaniment breathes. Leave space where the band does, especially in ballads like 'You Send Me' and 'A Whiter Shade of Pale.'

How to use it

Pull individual selections for a casual concert showcase, a student recital, or a pop-music-themed event. Alternatively, flip through the whole book as supplementary rep during the school year when students need motivational material that bridges classical training with popular music. These songs work equally well as solo features or as ensemble pieces if you have the companion books for other instruments.

Skills your students will build

  • Phrasing in contemporary song styles
  • Reading at a consistent tempo with accompaniment
  • Breath management in longer melodic lines
  • Stylistic flexibility beyond classical articulation
  • Listening and responding to recorded ensemble sound

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