Category Archives: Flute Music

Composer Profile: Geoff Eales

Geoff EalesIt is fortunate for us flute players that jazz pianist-composer Geoff Eales and the talented Andy Findon are such good friends. As a direct result of their collaboration for the CD The Dancing Flute, we now have some of the best flute jazz music to play for ourselves.

Eales studied composition with Alun Hoddinott and wrote award-winning large-scale orchestral works before he became more interested in jazz. His stellar career since then has enabled him to carve out a niche as an improviser, and it is these two aspects of his style that underpin all his works for the flute.

He certainly knows how to write dreamy melodies. Song For My Mother is beautiful, with a simple tune over a sustained accompaniment. There is no big technical challenge here but the 16-bar piano intro sets a relaxed ambience for the whole piece. There is a real feeling of freedom in the flute writing which is quite enchanting.

Remembrance is in a similar stylem but the minor key adds darker sonorities. This is captivating, drawing you in as you play – absolutely lovely!

If you’re in the mood for something upbeat, Eternal Dance is rhythmically tough with 7/8 alternating with 5/4 in the manner of Bartók (the metronome marking is 162, so this is a real workout!). In a completely different style is Elf Dance. Here three fast and furious sections alternating 6/8, 3/4 and 5/4 contrast with something slightly more lyrical to produce an exciting piece that’s always on the move. Farewell Patagonia is different again with a driving tango rhythm taking us to South America. In all of these works the piano is so important, and there are frequent improvisatory-style piano introductions and breaks. This makes the performances even better!

Geoff has also written repertoire for other members of the flute family: there isn’t much original music for penny whistle, so In The Eyes Of A Child is very special. A simple lullaby in waltz time, this is a piece that wonderfully captures the innocence of youth. You can of course play this on the flute but it really does sound great on a quality whistle!

This could not contrast more starkly with Force 11 for piccolo and piano. The performance direction for the opening improvised section here is manically and atonally and this leads on to the notated main body of the work that is marked demonic! This will stretch even the most accomplished player with its extreme range and relentlessly changing times. Intensely fun!

For low flutes, Geoff has written us two gems. Lochria’s Rhumba for alto flute and piano is a real fusion of styles. The mysterious melody is based on the Locrian mode and weaves its way enticingly around the lower reaches of the alto. The accompaniment adds a slow rhumba to the texture. The result is another laid-back and free work that casts an evocative spell over the audience. His work for bass flute and piano is Ice Maiden, another hypnotic piece which is again really sultry. The pulse is more clearly defined here with gentle syncopation in the piano allowing the sensuous sound of the bass flute space to sing the rich melody. Both these pieces are extremely well crafted for each specific instrument, using it to its maximum effect and reflecting the individual character.

Jazz for flute doesn’t come much better than this. Geoff and Andy – thank you!

Geoff Eales’s music is published by Astute Music and is available from Just Flutes.

Jingle Bling

6 Christmas Books That Your Flute Choir Should Own

Looking for music for your flute choir’s Christmas concert? We’ve hand-picked six great festive books that every flute choir should own.

1. Have Yourself A Merry Little Christmas

Ricky Lombardo’s arrangement of Have Yourself a Merry Little Christmas gives the solo to the alto flute, with three accompanying flutes providing a sumptuous backing . This is a masterstroke of arranging and really works, giving a lucky player a fantastic chance to shine and sending the audience home happy!

Have Yourself A Merry Little Christmas


2. Frederick Delius’s Sleigh Ride

Nancy Nourse’s transcription of Frederick Delius’s Sleigh Ride for piccolo, 4 flutes, alto, bass and sleigh bells is a chance to play less familiar music. This is an early Delius work which delivers the crisp clarity of a snowy day together with the pulse of a horse-drawn sleigh. The bells add a lovely touch!

Sleigh Ride


3. The Nutcracker (in 5 Minutes)

No review of Christmas ensemble music would be complete without a mention of The Nutcracker (in 5 minutes). Judy Nishimura has crammed your favourite dances from the ballet into a very short space of time – and it’s not easy! You need a piccolo, four flutes, alto, bass and contrabass for a successful performance (but she has also produced a version for flute and piano so no-one need lose out!).

The Nutcracker (in 5 minutes)

4. White Christmas

Irving Berlin’s White Christmas in the Wonderful Winds catalogue is written for four C flutes. This clever arrangement perfectly fills a short slot in your concert and your audience will enjoy spotting the hidden traditional carols. Includes three easy parts, with a trickier jazzy fourth part.

White Christmas

5. A Christmas Collection

Robert Rainford’s two-volume Christmas Collection (Vol 1, Vol 2) will provide you with 14 best-loved traditional carols, including Once in Royal David’s City, Away in a Manger and The Holly and the Ivy. Although scored for every kind of flute from piccolo to contrabass, this collection works well on four C flutes too. Teachers will be able to use this book in so many different situations – a life saver!

A Christmas Collection


6. Simon Desorgher: Jingle Bling

If you’re looking for something a little different why not try Simon Desorgher’s Jingle Bling. Fun to play, it’s written for instruments in C only (piccolo, 6 flutes and bass) it’s basically in C major and it features a popular Christmas tune (can you guess which one?!). There is a complexity between the parts due to the canonic nature of the writing, so although none of the parts is overly difficult, it will take some putting together. The ending is a little unorthodox, but this is a great piece to spice up your Christmas concert. Jingle Bells will never be the same again!

Jingle Bling - Simon Desorgher


We’ve chosen these six best-selling books from our Christmas Music section, but there is much more good music available for the festive period, and something to please everyone. Merry Christmas!


Publisher Profile: Tetractys Publishing

Tetractys Publishing is the brainchild of Carla Rees, home to her own compositions and arrangements as well as the many pieces that have been written for her. The range of material on offer here is vast. Obviously the catalogue is heavily weighted towards contemporary music for low flutes as this is Carla’s main area of expertise, but there’s much else to tempt you as well.

Her adaptations in two volumes of the JS Bach Cello Suites [volume 1]  [volume 2] for alto flute are a wonderful way of developing skills whilst using great music. Breathing and stamina are often a problem on low instruments, but if you can manage these it will really help. Aside from suggested articulations, the music is left for you to edit as you wish and you will be able to return to them many times, always finding something new. There are versions [volume 1] [volume 2] adapted specifically for bass flute too.

One of the most interesting pieces of contemporary music for solo alto is Adam Melvin’s Hyperlodic Interpretations written in 2003. Influenced by the jazz musician Eric Dolphy, the format is slow introduction (poco rubato – aggressive) followed by a rhythmic main section which is always driving forward. A much slower jazz melody follows before the momentum increases to the end. The fluctuating time signatures allow for flexibility in the interpretation and the basic multiphonic and portamento techniques are very approachable. If you are feeling adventurous, give this a try.

Another winner is Moss Garden by Michael Oliva for bass flute and electronics. This wonderful piece is all about texture (‘an exercise in simplicity’) with the slow moving flute writing merging into the accompaniment to create the magical world of a Japanese garden. The electronic part is supplied as a download and you will need some basic equipment for performance. It’s so worth the effort though as this unusual piece would enhance any flute recital programme.

If you fancy something a little more mainstream whilst staying with living composers, Attitudes by Jon Jeffrey Grier for 2 alto or C flutes might fit the bill. This is a very striking duet which aims to ‘capture the states of teenage people’. In three movements, the writing is quirky, and at times virtuosic. Although there are no advanced techniques to master and the rhythmic footprint is mainly straightforward, the challenge is in the dovetailing of the parts to blend as one. ‘Flirty’ is rather fragmentary with short rhythmic figures dancing around each other, whilst ‘Pouty’ uses tremolando and trills to provide the colour. ‘Ansty’ is an exciting whirl of notes which will bring the piece to a rousing conclusion.

Another work for virtuosos but from a completely different world is Carla’s own arrangement of The Flight of the Bumblebee by Rimsky-Korsakov for piccolo, flute and alto flute. This is a brilliant romp which is just so great to play!

Quatraine II for 3 piccolos and alto flute is one of Carla’s original compositions. Her aim was to pit ‘the chattering piccolos’ which are given angular leaps and short phrases against ‘the sonorous tone of the alto’ with its mainly melodic line The result is a perfect fusion of sounds that perfectly conveys the differing characters of the instruments. Whilst seeming ultra-modern, Quatraine is very approachable to play, giving you the best of all worlds!


Recent publications have included a large range of mainstream works that Carla has transcribed for ensemble. Again, the emphasis is on low flutes, so the result is completely different to that of more conventional arrangements. Crucifixus in 8 Parts by Antonio Lotti is scored for 6 altos and 2 bass flutes with contrabass if available, but three alternative C flute parts are also included. Tuning, balance and stamina are the issues here, but this simple work can sound really effective if played well.

More conventionally, the Quantz Concerto in G for two flutes is scored for 2 solo flutes, 2 flutes, 3 altos, bass and optional contrabass. The concerto grosso feel of this has been captured skilfully. The beautiful slow movement in particular contrasts unison tutti passages with intricate solos accompanied by a simple bass line.

Another winner is the arrangement of the Donizetti Flute Sonata for solo flute, 2 flutes, 2 altos and bass. Again Carla has transcribed sensitively, spacing the parts to allow the solo flute to carry over the main group. The solo part is original, and all the intricacies of the piano writing are seamless integrated into the other flute parts. This is an incredibly good way to showcase a lovely but rather neglected work.

If you would prefer to play an original work, Rainbow Measures by Rob Keeley, (2 piccolos, 4 flutes, and 2 altos) is another effective work that will challenge your ensemble skills. Lasting 9 minutes and ‘imagining each player as the colour of a rainbow’, the swirl of notes, rhythms and textures coupled with varying tempos and extreme dynamic changes results in a very colourful piece that will be a joy to accomplish.

The Tetractys catalogue also includes many of the works written for Carla’s flexible group Rarescale. One of the most compelling of these is Andrew McBirnie’s Mechanical for alto flute, cor anglais and bass clarinet, a short 2 minute piece in which continuous semiquavers passed around the group are punctuated isolated notes and rhythmic cells. The exactness of the writing really conveys the predictability of the machine and is utterly mesmerising.


Tetractys is so much more than just ‘niche music’. Delve further and you’ll uncover gems galore and there’s something for everyone.

Trubcher Publishing

Publisher Profile: Trübcher Publishing

Roz Trübger, founder of Trübcher Publishing, is very enterprising and clearly loves the flute. She has an impressive catalogue of music to her credit with a wide spread of titles. Educational resources, obscure repertoire and ensemble music are her three main niches, and every book has either an accompanying CD or an online audio clip to help you along.

A Listers’ is a highly respected series which aims to facilitate the learning process of core repertoire. All the pieces come with a standard flute part edited by Trübger herself, a piano score, a second flute part and a CD with a 2-speed playalong. Teachers who have limited keyboard skills obviously find this format invaluable, but there is also the advantage of being able to play these pieces as flute duets with or without accompaniment. Meanwhile, the dual speed CD backing tracks help with home practice.

A-Listers features important works such as sonatas by Bach and Handel, concertos by Mozart, Vivaldi, Quantz and Gluck as well as single pieces such as the Fauré Sicilienne, all of which are vital in the building of a strong flute foundation. This collection is a good way to teach this mainstream repertoire.

Trübger has unearthed some real gems for her ‘Forgotten Music‘ series. Again, each title is fully supported by an audio resource, which although computer generated, does give you confidence that you are in the right area. Little-known composers such as Macfarren and Graeff might entice you, and there are other gems that time has forgotten. The Romance in A by the English amateur flute player James Mathews is a wonderful piece, written in 1868 in a Romantic style and beautifully straightforward to play. It’s worth the money for the front cover alone, as the photo of Mathews with his extraordinary gold flute is quite something! The highlight of the series so far however, has to be the Romance by Alfred Bruneau. Written in about 1884, he has accompanied his sumptuous melody with a flowing accompaniment. Pure French pleasure!

As you might expect, Trübger’s arrangements for flute ensemble all work extremely well. She really knows how to handle the spacing of the instruments, which is so important to the success of any transcription. Her choice of repertoire is intelligent, with a wide range of styles to choose from. You could start with the Widor Toccata for four piccolos – not an obvious choice of instrumentation perhaps, but one that is highly effective in the right hands! The famous semiquaver theme is evenly distributed between all four parts encouraging listening skills to develop both accuracy and intonation. The audio clips are again electronic and the speeds chosen are deliberately quite slow. Here, this results in quite a pretty sounding performance but acoustically the piece offers a great deal in terms of skill and stamina, not to mention entertainment!

Von Suppe’s Pique Dame Overture is another excellent arrangement. This is for 6 flutes and the addition of piccolo, alto and bass, together with optional cymbals, gives added scope for textural variety. The style is easy to access and the writing straightforward, with just the right amount of independence in the parts. Both the piccolo and bass flute are less busy than the rest which is good both technically and aurally. The G major key and familiar rhythms also help here, and although 6 parts can seem daunting at first, the overriding aim is to give confidence to developing players as they tackle more substantial works.

If you are feeling yet more adventurous try Six Sweets by Marin Rabadan for 5 flutes and alto flute. Don’t let the title here lull you into a false sense of security: this should be played at helter-skelter speed with all six instruments cascading around the opening section! The central blues is more restrained and the closing vivo has great rhythmic drive. The style is jazz, the ensemble needs to be very tight. It’s a fantastic workout!

Whatever you choose to play from this lovely and very individual publisher, satisfaction is almost certainly guaranteed!

Wil Offermans

Composer Profile: Wil Offermans

Wil Offermans is one of the most interesting player-composers active in the flute world today. His music uses sounds and textures to explore different worlds and is flexible enough to be played in many different ways. Ethnic influences, particularly from Japan are very evident and his imaginative writing is very appealing for both performer and listener alike.

Perhaps the best place to start your journey of Offermans’ ensemble music is Voices of Nagasaki for solo flute, flute, alto flute, bass flute, contrabass flute or cello (optional), glockenspiel and random voices. This piece is conventionally notated and does not require any extended techniques. The glockenspiel can be replaced by any small drum and the voices do not have to be trained – it works very well by giving instructions to the audience! Even without this, the piece is extremely effective. Based on a simple jazz-like rhythmic figure, the haunting melody builds and becomes more intense to the end. The Japanese influence is unmistakable and the percussion adds an extra dimension to the scoring. You really need a conductor if you are using audience participation but it does work well without. This is a really beautiful and unusual piece, so do try it.

If you would like a freer approach then perhaps you could look at Kotekan for 8 C flutes which takes its inspiration from the music of Bali. Extended techniques are used here: wind tones, harmonics and bamboo-like sounds all contribute to the gamelan feel. Offermans calls the writing style ‘collectivism’ which is where “each player performs a relatively simple pattern which by itself seems without much musical value. However, once performed in the ensemble it becomes part of some sensational and enigmatic music” Many of the small sections of music are repeated four times and creates an almost trance-like state. Individually each part seems fairly straightforward but it’s the coming together of all the various strands that is the real challenge here. Worth it though!

Offermans is also into movement, so if you like to dance whilst you’re playing, try Dance with Me. There is only one part here but it comes complete with all the movements and a backing CD. The use of breath tone, harmonics and pitch bends are specified but the again the piece is effective without. The compositional technique is similar to Kotekan, but the style is completely different. This is a really funky piece and if you can learn the dance as well as memorise the simple notes it is fantastic fun!

The solo flute music is really interesting too. Tsuru-no-Sugomori (Nesting of Cranes) is a challenging transcription of a traditional Shakuhachi melody and comes complete with instructions and exercises to help with the extended techniques involved in the performance. The piece takes us through the cycle of the life of a crane (highly revered in Japanese culture) from building a nest through to death. Offermans recreates the Shakuhachi timbre by extensive use of lip glissandi, pitch-bending, portamento as well as a great variety of types of vibrato. This results music rich in colour and texture which is both exciting to play and to listen to.

Made in Japan is perhaps more approachable and comes with a computer-manipulated CD accompaniment. Some of the six songs here are shorter and the notation is rather more conventional, but there is still a wealth of sound worlds be discovered. Synchronisation with the CD is managed by time, which all adds to the fun. These songs refer to the ‘super-sweet sentiment’ of daily life in Japan, and one of the possible ways to perform them is to walk amongst the audience creating almost a ‘virtual reality’ of life. This is a great book for anyone interested in contemporary techniques.

Offermans is also passionate about teaching and is very active, giving master-classes throughout Europe. He is keen to harness the imagination of the less experienced too and For the Younger Flutist does just that. Partly an activity book, the ten pieces use either graphic notation or game playing to introduce the concept of music without strict notation. Each one is very clearly set out and there are notes for teachers too. This is really worth a look, especially if you work with groups. ‘Not at all because the material in this book is supposed to be easy, but young flutists are masters in dealing with imagination, creativity and enjoyment’. As such it can be enjoyed by anyone! Another great idea is the Improvisation Calendar which has 52 graphic scores (one for each week) designed for use in any style at all – the possibilities are obviously endless. This would be ideal for hanging in the teaching room for use in an ad hoc situation.

No review of Wil Offermans would be complete without Thumpy which is a simple ‘thumb flute’ of his own invention. The wooden tube is open at both ends, the blowing hole is in the middle and the 5 notes are made by opening and closing the ends with the thumbs. It’s obviously great for children and also for the more advanced as a way of increasing embouchure flexibility. In any case this is another way of using your imagination and having fun!

If you are not familiar with his music, take a look: you will find inspirational writing which tingles the senses.

Music by Wil Offermans is available at Just Flutes.

image-wm-1-flute-concerto-nielsen cover

Building a Flute Library: Exploring Edition Svitzer

Edition Svitzer is a relative newcomer to the world of flute publishing. Set up in 2001, the flute catalogue is under the experienced eye of Henrik Svitzer, one of the two brothers running this family firm together with their father. All three have worked professionally as musicians, and Henrik studied with Marcel Moyse in the US before holding the position of principal flute in the Royal Danish Orchestra for 21 years. He is now professor at the Royal Danish Conservatory of Music, and his experience in the flute world has proven to be a fantastic basis on which to produce a beautifully produced, intelligently sourced flute catalogue.

Nielsen Flute ConcertoAs this is a Danish company, the music of Nielsen is well represented in the Svitzer catalogue. The famous Flute Concerto is edited by András Adorján, and is probably the best version on the market at the moment. Its unique selling point is that it includes two copies of the solo flute part: the first version has all the important orchestral writing cued on a separate stave, whilst the second version has the orchestral writing arranged for a second flute. This has the obvious advantage of being able to get to know the score completely before standing in front of the orchestra. Care has been taken to highlight the important orchestral lines in both harmony parts and in the piano reduction, which has been made a little less exacting. Altogether this is a very impressive edition and well worth investigating.

Nielsen Concerto - Score Sample

Hot off the press are two brand new volumes of Orchestral Excerpts arranged for 4 flutes. All the major flute solos are here, and although some of the extracts are short, in most cases they cover exactly the bars that might be set for a first flute audition. Flutes 2, 3 and 4 are arranged to cover the accompaniments and to put the solo into an orchestral context. For example, ‘Aus Liebe will mein Heiland sterben’ from Bach’s St Matthew Passion from Volume 1 has simply the opening phrase accompanied by an arrangement of the oboe da caccia accompaniment. This graphically illustrates just how this beautiful solo works, and will transform a student’s view of it much more effectively than just looking at the score. This aria also appears in Volume 2 in a longer form, where the first flute takes the vocal line leaving the solo to the second flute – another way of all players really getting inside the music. Arias from Mozart’s Magic Flute are also treated in this way, while the enigmatic extract from Mahler’s Ninth Symphony is brought to life by both playing the complex string writing underneath the solo and hearing how that affects performance. These books are an exciting and fresh way to bring these taxing solos to life and if the quartet is good, everyone can have a go!

Another interesting aspect of the Svitzer catalogue is the music for flute groups. An adaptation of Kuhlau’s Piano Sonatina in G major for 10 flutes (piccolo, 7 C flutes and 2 alto flutes) is already proving popular. There is a particular challenge in ensemble playing with such large numbers, and success is often down to the quality of the arrangement. Here it is outstanding. The detail of the piano writing is conveyed by the first 7 parts, with the remaining flute and alto flutes providing a strong bass line. This means that the texture is intricate but there is always something strong to hang on to, especially if you are playing one of the inner parts. The result is quite delightful and will be enjoyed by audiences and performers alike.

This is also true of Ravel’s ‘Le Tombeau de Couperin’ which has been transcribed here by Erik Norby for the so-called ‘Kuhlau Quartet’ of 2 flutes (one doubling piccolo), alto flute and bass flute. Norby was a great orchestrator and he has managed to convey nearly all of the vibrancy and colour of Ravel’s score – quite an achievement! You will need four good players for this as all the parts represent a challenge, especially for the alto and bass. This piece really works though and it’s great for flute players to have access to such a high quality arrangement.

The unusual repertoire for flute and piano listed is also intriguing. Composers such as Poznansky, Stankovych, Graesvold and Weyse are featured together with the slightly more familiar works of Morlacchi and Schneider. Svitzer’s own book of Flute Exercises is also worth a look. Aimed at the professional player with very little time to practice, he has gathered together all the essential material that he has found useful over the course of his illustrious career and set it out in a logical order with advice on how to manage it all. His preface states the ‘the exercises are also made for the love of flute playing’ – a sentiment that could be described to this entire catalogue!


Exploring The 2014 ABRSM Flute Syllabus: Grades 6 and 7

By the time we reach this more advanced level, playing skills should be at the point where the choice of repertoire is based on stylistic considerations rather than technical ones. The 2014 ABRSM syllabus reflects this, with a myriad of pieces to choose from.

The good thing here is that most of the works are originals rather than arrangements. At Grade Six, List A is dominated by Baroque composers but the inclusion of a Walckiers Scherzo in the ABRSM book and a movement from a little-known concerto by Leopold Mozart further down the list means that you also have viable alternatives. The Walckiers in particular will be very popular despite its foray into E major for the lyrical trio, and the ‘bien rhythme et avec verve’ performance direction at the start gives you a flavour of its upbeat style. The Leopold Mozart Presto is similar and perhaps more tricky, but both pieces offer a refreshing change from the ‘there’s nowhere to take a breath’ dilemma. Perhaps the most interesting Baroque piece is actually in the unaccompanied section, again in the ABRSM book, with a sensitive arrangement by Trevor Wye of a Handel Allemande in C minor.

French music is well represented in the List B pieces of both grades. The wonderful Roussel Aria will have a much wider audience as it’s now in the book, and Caplet’s dreamy Reverie is available in The Flautist’s Collection Book 3, a lovely selection of music edited by Paul Edmund-Davies. These two pieces should be on everyone’s radar! For fans of Gaubert, the Sicilienne is still with us, and it is one of his most loved pieces. When bought together with the Madrigal, it represents a very good purchase.

List B opens up still further with two pieces by living artists. The American flautist and composer Gary Schocker is starting to gather a real fan base in the UK, and Spring Energy (or Heigh Ho) from Dances and Daydreams is typical of his quirky style. Here, strong rhythm, changing metre and unexpected harmonies give the almost-familiar melody a twist. Luckily the main theme keeps recurring in various guises to help with the technique, and the ending is suitably abrupt. Another contender for Best Piece of the Syllabus is And Everything is Still… by Andy Scott. Andy is really beginning to make a name for himself, and this is one gorgeous piece. Grab a copy now and enjoy the simple melody which ‘unravels alongside delicate harmonic statements, creating a calm and gentle atmosphere.

Sticking with living composers, Rob Buckland’s Charming Snakes in the ABRSM book will really appeal to those wanting to move away from the more traditional studies for the solo piece. The exotic writing contrasts a rhythmic dance-like figure with a flowing chromatic melody to produce a compelling piece that would stand up very well in a concert.

At Grade Seven, the ABRSM book may be less appropriate, as by now students often wish to purchase complete works. However, it does still have a part to play in introducing unusual repertoire at a reasonable cost. If you missed the Popp Sonatina in C last time round, here is another chance to savour its virtuosic flute writing. You need reasonable fingers for this, but everyone enjoys flashing around in an easy key! The Sonatina by the Dutch composer Jaap Geraedts is a gem – tuneful and rhythmic, with good ensemble skills essential for a successful performance. The charm of André Caplet’s Petite Valse is embodied in the rubato, where almost every bar changes speed. An excellent choice if you have already learned the Reverie at Grade Six, these two pieces together work well in a concert. The excellent With Life (also available in Russell Stokes’ book Tricky Jazz Singles) provides the best change of style for list C.

Away from the AB book there is an even broader range of genres. The pick of the Baroque choices on List A is possibly the B minor Sonata by Telemann. This is quite a dark work, and the two set fast movements have real technical challenges, especially as the writing is all in the lower registers of the flute. The other movements are not so hard, and playing the complete sonata is perfectly possible at this level.

If you prefer something sunnier, you might like to look at the Rondo from the Sonata in D major by the nineteenth century German composer Johann Wilms. This is a lively Allegro, with a spritely theme and a brief D minor interlude. Thirds and sixths abound in the duet style writing with the piano, which helps the ensemble, and the whole piece is very approachable, not to mention enjoyable!

Two works jump out from List B. The first is an absolutely delightful Nocturne by Lily Boulanger from a bargain of an album entitled Flute Music by Female Composers. Worth the money for this wonderful vignette alone, with its beguiling melody and simple accompaniment, this rather special book contains a range of material from the Baroque to contemporary works and will hold your interest for a very long time. Fujiko in Vocalise: Songs Without Words is another good piece by Andy Scott, this time in a more obvious jazz style. Its languid melody becomes ever more improvisatory without losing its melancholy and reflective feeling. Allthe pieces in this album, edited by Clare Southworth, have a song element but they are varied and well worth dipping in to.

Another alternative to the more traditional studies set for the solo list is the Polka from Dynamic Dances by Allen Vizzutti. If you have already used this book at Grade 5, you will appreciate the rhythmic drive of these pieces which evoke the character of the dance with a modern twist.

If you want to play the Kohler Study from Op 33, you might like to purchase the duet part published separately by IMC. This adds another layer of difficulty – performing the solo version will seem very easy by comparison!

These grades are important for a developing flute player and the need for variety as well as technical development has never been more acute. There is a great deal of interesting material here, which will make the task just a little easier.


Exploring The 2014 ABRSM Flute Syllabus: Grades 4 and 5

ABRSM LogoBy the time a pupil reaches the level of the intermediate grades 4 and 5, repertoire needn’t be governed by an exam syllabus. Pieces outside of the ‘exam books’ therefore become increasingly important as a player begins to widen their musical horizons.

The ABRSM books for these two grades offer up some interesting music. At grade four, there is a lovely arrangement of a Cimarosa Piano Sonata which will need delicate tonguing to convey the con eleganza performance direction. I can also recommend trying the Honegger Romance in the same book, as this is an original and unusual piece for flute and piano with some scrunchy harmonies to become accustomed to.

Not everyone will take to it, but Allegretto by Russell Stokes (also in Easy Jazz Singles) is sure to be a winner. If you’re starting to think about some programme planning for pupils’ concerts, this selection is about as varied as it gets!

One of the best pieces on the entire syllabus can be found in the Grade 5 book. Léo Delibes’s Morceau is a wonderful vignette that will really appeal to those with a love of French Flute School music.  Written as a sight-reading test for the Paris Conservatoire, the challenge at this level is both technical and artistic. Perhaps here, the first teacher-pupil conversations about changes of sound could take place.

The Largo and Vivace by Daniel Purcell will introduce pupils to a little-known British composer, while Mike Mower’s Mango Tango will provide some jazz-based interest. The big hit of the Grade 5 book, however, is bound to be The Playful Pony from Luna’s Magic Flute by Blaž Pucihar which is a wonderfully tuneful and happy piece. I’m sure that girls in particular will love it!

The exam books alone are unlikely to keep all teachers occupied until 2017 though, and there is a wealth of lovely flute music further down the syllabus lists. It needn’t cost a fortune either, as there are good value books available which cover several grades. Here are some of my favourites to provide your students with a broader knowledge of repertoire:

List A

If you are a fan of CPE Bach, then the volume of his Six Sonatas could be for you. This book can be used for grade 4, 5 and 6, therefore represents long-term value for money.

Classical Music for Flute by Peter WastallPeter Wastall’s Classical Music for Flute had gone out of fashion over recent years, but it is a great hunting ground for simple pieces in the Classical style. The Sonata in C by James Hook is bright and sunny, and will be really useful in developing the neat articulation needed to bring out the clarity of the writing. This is a charming piece which really deserves its revival, and should be popular for Grade 5.

Another good book to invest in is the Telemann Suite in A minor which covers Grades 3-5. All the movements are lovely, and ultimately it is an ideal work to perform in its entirety with a school orchestra. At under £10 (at time of going to press), it works out just around £3 per grade!

List B

Although Latin Connections contains just one set piece (for Grade 4), this is a book that both teachers and students will absolutely love. ‘What Are You Doing the Rest of Your Life’ by Michel Legrand is probably one of the least well-known tunes on a contents page that lists all the greats of Latin music. Add in the benefits of a playalong CD and hours of pleasure can be had for not that much money!

Blaž Pucihar: Flute at PlaySome more of Blaž Pucihar’s beautiful tunes can be found in Flute At Play, which is set for grades 4 and 6. This book is beautifully presented with full colour illustrations and a good quality CD. The music isn’t a pushover, and both Flute At Play in a jaunty A major and Dreamy Flute, with its slow sustained melody, will give a Grade 4 pupil a real workout. Flute At Play consists of ten pieces altogether which form a complete story, so there is plenty of scope for performance away from the exam – if you have enough students at this level, you could have a concert with a different player for each piece!

If you are able to splash out, there are some other lovely things to explore, especially at Grade 5. If you have a really promising student, they may be ready for the Claude Arrieu Sonatine, first movement, which is difficult but well worth the effort. As the whole work is on the Diploma list as well, you might find this student able to perform the whole work at some future date! Gerard Meunier’s atmospheric Au Crepuscule (At Dusk) is a beautiful sweeping melody which will stretch musical flexibility, but once mastered will be returned to many times. All the Goran Marcusson arrangements in the album Frösöblomster (Flowers from Froso) are delightful, with Song of Summer being particularly approachable at this level.

List C

There are two study books in particular that will serve you well at several grades. There’s a lot of good material in Flute Studies Volume 1 published by Breitkopf, including some general practice notes. It starts at a basic level and, exam-wise, will take you through to grade 6. Kohler, Gariboldi et al are included, but set at grade 5 is a challenging Allegro by Pal Jardanyi. Rhythmically simple, the G minor centre modulates constantly, with the E flat major meno mosso section visiting D flat and G flat majors before returning home. Great for expanding aural awareness!

If you would prefer something a little more contemporary, try Allen Vizzutti’s Dynamic Dances. The Flamenco on the Grade 5 list is great, with strong Spanish rhythms (it brings Toreador’s Song from Carmen to mind). This is one of the easier pieces in this book, so it will readily add another dimension to technical work for more advanced players.

There is plenty here to make the exam route more interesting as well as stimulate a young flute player. Enjoy the variety on offer!


Exploring The 2014 ABRSM Flute Syllabus: Grades 1 to 3

ABRSM LogoThe publication of a new ABRSM syllabus is about as big an event as it gets in the publishing world these days, and having a piece set for grades 1-3 will generate a great deal of interest. The two parts of the 2014 listing (the AB books themselves and the extra set repertoire) will represent a large part of the material used by many flute teachers over the next few years, so it is fascinating to see what we have in store and how we can make it work for us.

The ABRSM books themselves provide a good range of styles for young players to experiment with.  The traditional Irish tunes set at Grades 1 and 2 provide a real finger workout, and Renaissance music makes a welcome appearance at Grade 2 with ‘Que je chatouille ta fossette’, attributed to Attaingnant. This piece appears in Music Through Time Volume 2, but is sure to be played much more often now. There is also a lovely arrangement of a Scarlatti Minuet at this level and a stunning Pergolesi song ‘Tre giorna son che Nina’ set at grade 3 which will need a musical player with a silky sound to perform it successfully.

A Flautist's CalendarThe neglected English composer Keith Amos is included at Grade 1 with ‘Lupin, the Pot-Bellied Pig’, a tuneful march sure to be very popular with younger players.  Grade 2 includes ‘February’s Rain’ from another over-looked book, ‘A Flautist’s Calendar‘  by Richard Kershaw. This is a contender for the loveliest piece set at any level, with a beguiling melody and flowing accompaniment.

There is also some rather obscure repertoire included, especially at Grade 3 where both the Claude Arrieu ‘Chanson de la Pasteur’ and David Gordon’s ‘Amazonian Mood’ will take some learning. If in doubt though, you can stay on safe ground with ‘Edelweiss’ at Grade 1!

The solo pieces have the usual mix of straight study, jazz, and simple tune. Highlights here are Nicky Iles’s ‘Jazz Waltz’ at Grade 1 which is a challenge to swing, and the enigmatic ‘Waltzlet’ by Mike Mower at Grade 2. My personal favourite though is Graham Lyons’s ‘Study in C’ which will keep your Grade 3 pupils happy – no key signature and a witty melody!

And what of the pieces that are not in the books? As this syllabus lasts until 2017 we will all surely need them. Luckily at these early levels it is possible to use the same alternative books for several grades, and these will obviously be the best place to start.

Harlequin Book 1Top of my list is ‘Harlequin’, an imaginative set of pieces put together by Simon Hunt and Cecilia McDowall. Harlequin Book 1 serves Grades 1, 2 and 3 and includes a CD which represents extremely good value. Composers used range from Daquin to McDowall herself, whose Grade 2 Circus Rag is not to be missed!

Another multi-purpose album is ‘Winner Scores All’ which appears at Grades 1 and 3. Here the flute part and accompaniment are sold separately and there will shortly be a CD playalong version too. ‘Truly Scrumptious’ set for Grade 1 is the main attraction, but both the Aria from Mozart’s Don Giovanni and a Grieg Norwegian Dance are tuneful alternatives for Grade 3. As with Harlequin, the repertoire is so varied that the book can be made to work really hard outside the exam environment as well.

Louise Chamberlain (aka Pam Wedgwood) has two pieces from her book ‘Step It Up!’ on the Grade 2 listing. Although both ‘Red Admiral’ and ‘King of Swing’ are jazz-based, this is a nice collection of tunes that most pupils will enjoy, especially as this CD has two speeds for each piece.

Hartbeat’ is an album worth buying for the cover alone! Paul Hart’s light style is already very popular and ‘Rainy Day in Paris’ will not disappoint you. This is the easiest piece in the book, and indeed ‘Lonely and Blue’ actually appears in the ABRSM Grade 4 book. Don’t let that put you off buying it though as there’s a wealth of good material here.

Globetrotters for FluteGlobetrotters’ is another interesting book that appears both in the Grade 1 ABRSM book and separately at Grade 3. Subtitled ‘12 pieces in styles from around the world’ and including a CD, both the Grade 1 ‘Guanabara Bay’ and the Grade 3 ‘Hole in my Shoe Blues’ have lyrics to help learning and a second flute part which really adds to the fun. This will prove to be a very popular book with developing players.

Two books from very well respected composers supplement the unaccompanied music lists. Philip Sparke’s ‘Skilful Studies’ and  James Rae’s ‘Style Workout’ provide interesting contrasts of style, with Sparke’s ‘Classical Theme’ at grade 2 being based almost entirely on a D major scale, whilst Rae’s ‘High Five’ at grade 3 is quite a  challenge. In 5/4 with some tricky rhythms, this will really test all round ability at this level.

However you choose your exam music, have fun and enjoy the new challenges it brings!

Play Flute!

Back-To-School Inspiration

It’s that time of year again, but don’t fret – we’re here to bring some inspiration to the new school term.

For Teachers

The myfife MethodThe myfife Teacher’s Resource Book by Liz Goodwin

This is a teacher’s resource pack to accompany the Fife Book, and if you’ve never thought about using a fife as an introduction to flute teaching, then take a look at this. It is packed with lesson plans, exercises, games, practice sheets and report forms as well as flashcards. Topics covered include ‘Flute Techniques Taught Using the Fife’, ‘Individual or Group Lessons’ and ‘Embouchure Development’ – if you are working with young students, this book could really change your life.

Pneumo Pro Wind Director Pneumo Pro Wind Director

This wacky-looking piece of kit helps beginners to make a good sound from the outset. It is very lightweight and simple, based on a system of fans to help with both air direction and speed. This can be particularly useful if there is a problem producing the sound in the early stages as it is also colourful and fun! Developed by Kathryn Blocki, you can use it in conjunction with her excellent Flute Method. Every flute teacher should have one of these!

For beginners

Razzamajazz Flute Book 1Razzamajazz Flute by Sarah Watts

Learning the flute is so exciting and it really helps if you can start making music at home as soon as you can. The first piece here, ‘B Groovy’ uses just the one note but the CD accompaniment is so good that you feel as if you’re really performing ! Only 10 notes are used altogether and the material can be all used again up the octave. A piano part is included as well. Highly recommended!

Duets for One - Rickard & CoxDuets for One arranged by Rickard and Cox

This book is crammed with 16 pieces that range Pachelbel’s Canon to Scarborough Fair. It is very flexible: the book itself has a melody and a harmony part, the CD has performances and separate parts as well. Not presented in a progressive order, it seems easier to just dot about and play what you fancy. Starting with the harmony part, there is then real incentive to improve and play the melody line. Great supplementary material.

For Intermediate Players

Light Aerobics - Clare SouthworthLight Aerobics by Clare Southworth

If you feel you need to zip up your flute technique, this book of exercises could be just the thing to give you a kick start. Each section follows the same format – principle, method, exercise and notes, allowing you to move at your own pace. Tone, finger work and articulation are all covered, together with rhythm and finding your singing voice. There is also material suitable for groups. Clare’s introduction tells you how to use the book to its best advantage, so get working!

Mighty Boom Ball Speaker Mighty Boom Ball Speaker

It’s really easy to record yourself on your smartphone now and this is a great way to see if you’ve improved. The Mighty Boom Ball is a natty little gadget which is small enough to fit on your keyring, but can turn almost any object into a loudspeaker. Suggestions range from a cardboard box or bike helmet to a picture frame or microwave – wherever you are, you will find something to convert in to a speaker!

For the more advanced:

Lefreque Sound BridgeLefreque Sound Bridge – Dutch original sound solution.

As used by Emily Beynon. If you would like to give your sound a real boost then this could be just the gadget for you. It consists of 2 small brass plates which attach with plastic strips to both the headjoint and the body of your flute. The improvement in sound is astonishing! This device really has to be tried to be believed.

Know The Score - Mark TannerKnow the Score by Mark Tanner

If you are thinking about taking a performance diploma that involves any sight-reading, this great little book will really help make the test seem easier. Mark Tanner has divided up the task into various bite-size elements, for example tempo, tonality and final polish, which help to organise the brain rather than scramble it. He guides you through the first pieces and then leaves you to your own devices. This is an excellent buy, even if an exam is not on the horizon.