Adagio from Suite for Organ 
(Arr. by Ann Cameron Pearce) 

*FINALIST in the 2004 NFA Newly-Published Music Competition

This well-known Albinoni excerpt adapts extremely well to the flute choir.  Its beautiful, almost mournful melody can be resonating and inspirational in both secular and sacred settings. Featuring long phrases and legato lines, it is scored for 6 C flutes with optional alto and bass flutes plus optional divisi on flutes #2 and #3.

Allegro from Sinfonia Concertante 
(Arr. by John Davis)

This "concerted symphony" by the youngest of JS Bach's sons is representative of the transition  from baroque to classical, and JC Bach's gallant lyricism and rhythmic energy are evident throughout, especially in the two solo parts.  The arrangement is scored for four C flute parts (flutes one and two as soloists) , one alto and one bass flute part.  It may be performed one-on-a-part or with doubled parts for a larger ensemble.

Brandenburg Concerto No. 3 
(Arr. by John Davis)

*FINALIST 2000 NFA

 J.S. Bach's enduringly popular and energetic work for chamber orchestra arranged for six c-flutes, two alto flutes, and bass flute.  A genuine "tour de force" for any flute choir.  Includes optional c-flute parts  for alto and bass flute parts.

6 C fl, 2 alto flutes, and bass flute.

 Picc./flute, 3 C fl., alto & bass.

Picc./flute, 3 C fl., alto & bass.

 The Sonata in C Major is originally a flute solo transcribed for flute choir.  It's written in four movements with the solo part moving to different voices.   The piece calls for 3 C flutes with flute 2 switching one player to piccolo on occasion and flute 3 having an alternate Eb part which will facilitate some of the higher passages.  The first movement , Andante Allegro, starts out with the solo in flute 1 until the Allegro section when it switches over to piccolo in flute 2.  The second movement, Menuetto, has the solo in flute 3 or Eb.   The Adagio movement returns the solo to flute 1 and the final Allegro goes back to the solo on the piccolo.

3 C flutes (one w/picc. & one w/opt.Eb fl.) , alto & bass flute.

A Lively Irish Medley

 Much Irish music was written to be danced to and if performed in concert settings, the repetitions necessary to flesh out a single work for a good length make it sometimes boring.   This medley incorporates nine different Irish dance tunes into a single concert work, playing each tune in its entirety but not adding repetitions.  The melodies incorporated are: Limber-up Reel, Donnybrook, Dundee Hornpipe , Bunch of Roses Reel, Lamp Lighter's Hornpipe, Exile's Lament, Speed the Plow, The Last Rose of Summer and The Rakes of Mallow.  The beautiful slow melody of The Last Rose of Summer is set in counterpoint to  the lively Speed the Plow.  Each of the sections can be performed on its own without the rest of the medley, making it a versatile work for every flute choir's library.   Each instrument gets to play the melodies at various times, turning this into much more than a simple oom-pah accompaniment with the melodies in the top part.

Picc., 2 C flutes, alto & bass.

A happy, up-tempo swing tune that will provide a delicious change of pace.  Chord changes are provided in the individual parts to allow any or all members of the ensemble to improvise--a challenge for flute choirs.

4 C flutes, alto (alternate C) & bass.

Using the fugue theme, this piece demonstrates each flute as it is added one by one , allowing the audience to become familiar with the sound of each new voice. 

Piccolo, 1 C flute, alto & bass.

This follows the same format as Flute Fugue #1, only demonstrating the Eb flute as well.

Piccolo, Eb flute (opt. 2nd piccolo), 1 C flute, alto & bass.

This also follows the same format as Flute Fugue #1, only demonstrates the Eb and contrabass flute as well. The fugue starts with a contrabass solo and is heard by itself at the end as well, to reinforce its sound in the ears of the audience. 

Picc., Eb fl. (op. 2nd C flute), C fl., alto, bass and contrabass flute

The Moonlight Sonata 
(Arr. by Rick Pierce)

 This is a transcription of the first movement of Beethoven's Piano Sonata
Op. 27 No. 2. This adagio sostenuto movement while flowing like "moonlight shining on a lake" to quote the poet Ludwig Rellstab in 1832 about the piece, was never so titled by Beethoven himself.   The sonata was titled "quasi una fantasia" or "almost a fantasy".  It was dedicated to the seventeen year old girl he (purportedly) loved, Countess Giulietta Guicciardi, a piano student of his.   It's been a popular classic since its first appearance.  This arrangement is scored for 3 C flutes, 1 alto flute and 1 bass flute.

Mindscapes

 *WINNER of the 1994 Flute Choir Competition, sponsored by the Music Department at the University of Toledo. 

*FINALIST in the 1996 NFA Newly-Published Music Competition . *HONORABLE MENTION in the 1997 Newly-Published Music Competition.  This contemporary piece in three movements will be a refreshing change for your audience and a rhythmic adventure for your flute choir.

5 C flutes ( flute 1 doubles on piccolo), alto & bass flute.

 Miscellany is a collection of 12 short pieces on varying technical levels, in combination for two, three and four players on flutes, piccolos, alto and bass. The changing moods and character of these pieces will give performers and teachers many choices in assembling different subsets for recitals and study.

Intermezzo, Op. 118, No. 2
(Arr. by John Davis)

This piece exhibits Brahms' great lyric gift as well as his characteristically  flexible treatment of rhythm and harmony.  Scored for 3 C flutes, alto & bass, this arrangement places much emphasis on the rhythmic interplay between the C flutes and the alto & bass parts.

3 C flutes, alto & bass.

Two Quicksteps
(Arr. by David H. Bailey)

Quicksteps were one of the main forms of popular music during the 19th century in America.   They were written often for special occasions or to honor special people.  While they were originally composed mainly for bands, they were so popular that they were very often published in piano arrangements so they  could be performed at home.  Light and lively, this work gives a great taste of musical entertainment from the peaceful period between the War of 1812 and the War Between the States.

Picc, 2 C-flutes, alto & bass. 

Helen's Backyard

Helen’s Backyard is a celebration of life told through a backyard day, presented in five movements. “Dawn Processional” paints a sunrise and the sun’s triumphal march across the land. Tentative but enthusiastic birds then attempt to sing as an ensemble in “Boid Dance,” but can never quite get it together. “Cat Pause” is the swing-beat swagger of a very cool cat, complete with meows and purrs.  The frenetic “Squirrels” follows. Finally, “Evening Chorale” brings the day to a satisfying close. Parts are for 4 C flutes, alto, and bass, and is about 8 minutes in length. 

Mood Swings, in three movements, take the mood up, down, and up again.  “Pink Flamenco” opens the piece with a Spanish flavor with a snappy dance in three that offers an alto solo and a surprise ending.  “Parting,” the second movement, paints a picture of that very human experience. “DecaDance” is a driving 10/8 with a fiery finish. Parts are for 4 C flutes, alto, and bass and is about 5 minutes in length.

Now in Two Flute Flavors is two movements of crowd-pleasing and somewhat-challenging jazz. The first movement, “Some Restrictions May Apply,” lies between cool jazz and big band. A walking bass underlies trumpet-like “bops” and relaxed, slightly-dissonate syncopation. “Bent Key Boogie” is the second movement and offers fast-moving boogie-woogie that features a wild 12-bar piccolo solo backed only by bass.  Scored for 4 C flutes, picc, alto, bass, and optional string bass. A bit more than 4 minutes performance time.

Wind Dance

 *HONORABLE MENTION in the 2001 NFA Newly-Published Music Competition.

This piece was written on commission from the Penfield Music Commission Project.   The work can be performed by a flute choir of wide ranging ability levels, from elementary school players to professional musicians, and is enjoyable to rehearse, perform, and listen to while still presenting rewarding  challenges for all involved.  Scored for 12 C flutes, 2 double on picc., marimba and timpani.

Concerto Grosso, Op. 3, No. 1
(Arr. by Shelley Collins)

The concerto grosso of Corelli's day was often a trio sonata with extra voices  used to emphasize various aspects of the music.  This piece has can be played as a trio but has also been arranged for 4 C flutes, 2 altos and 1 bass.  Alternate parts have been added to use all C flutes as well. 

*HONORABLE MENTION in the 1995 & 1996 Newly-Published Music Competition.

Solo parts: 2 solo C flutes, 1 solo bass.

Tutti: 2 C flutes, alto & bass.

Tarentelle Styrienne 
(Arr. by John Davis)

*FINALIST in the 2004 NFA Newly-Published Music Competition

This piece was written as a solo piano piece in 1890 and is full of rhythmic drive and playfulness , exploiting the metrical ambiguities of 6/8 and 3/4 meters.  It is scored for picc., 3 C flutes, alto and bass.

3 C flutes (one w/alt. Eb flute), alto & bass.

*HONORABLE MENTION in the 1995 & 1996 Newly-Published Music Competition.

 2 C flutes, alto (or alternate C flute) & bass flute.

Juba Dance from "In the Bottoms" Suite
(Arr. by Anthony McDonald)

Juba Dance, the final and most famous movement of In the Bottoms - Characteristic Suite for the Piano by African American composer R. Nathaniel Dett (1882 - 1943), is often performed separately as a piano recital piece. Juba Dance has a ragtime format and sound, and reflects the rhythm and excitement of that style of music. Scored for picc., 4 C flutes, alto & bass.

Three Madrigals
(Arr. by John Davis)

*FINALIST in the 2001 NFA Newly-Published Music Competition.

 This arrangement of three popular madrigals (I. Ah Could My Eyes Behold Thee  II. O Lady Fair III. I Know a Young Maiden) by the Renaissance Italian composer Orlando di Lasso is a delightful addition to any flute ensemble program.   Exemplifying the transition between late renaissance and early baroque musical styles, these madrigals combine forward-looking homophonic textures with 16th century harmonies and cadence figures.   Scored for either 2 C flutes, alto & bass or 3 C flutes & alto, "Three Madrigals" can be performed by ensembles ranging from flute quartet to flute choir.  Alternate parts for  alto and bass flute are included.

Scored for either 2 C flutes, alto & bass or 3 C flutes & alto.

Fantasie Pastorale Hongroise, Op. 26
(Arr. by Rick Pierce)

For solo flute with flute choir accompaniment. This is the famous Doppler  flute solo with either band or piano transcribed for flute choir accompaniment. The original key has been maintained so you can play from your original flute part.

Solo: C flute

Tutti: 3 C flutes, alto & bass flute.

Flute Septet

*FINALIST in the 2004 NFA Newly-Published Music Competition

Flute Septet was commissioned by, dedicated to and premiered by the Mass. Flute Choir under the direction of Danielle Boudrot.  The first movement, begins with parallel chords , moves to a fugue and returns to the initial chordal texture.  The 2nd is a tour de force with swirling 16th notes.  The 3rd features a plaintive theme over repeated chords and the last movement presents  the theme in low flutes, followed by tossing the theme around in various registers with a fast and furious conclusion.  Scored for 5 C flutes, alto & bass flute.

Finale from Serenade, Op. 22
(Arr. by John E. Davis)

This arrangement of the Finale from Serenade for String Orchestra, Op. 22, composed in 1875 , features the lively combination of Czech folk melodies and dance rhythms that were Dvorák's hallmark.  It is scored for piccolo, three C-flute parts, alto and bass flutes. It may be performed effectively  either one-on-a-part or with doubling of flutes 1, 2, & 3 to accommodate a larger ensemble.

Enigma Variations, Op. 36
(Variations VIII "W.N." & IX "Nimrod")
(Arr. by John Davis)

*FINALIST in the 2004 NFA Newly-Published Music Competition

English composer Edward Elgar’s premise for his "Variation on an Original Theme" was to musically characterize a dozen of his friends and associates.  Each variation is designated by the initials or pseudonym  of the person portrayed (hence the enigma).  It is scored for 2 piccolos, 4 C flutes, 2 altos and bass.

Nocturne No. 5
(Arr. by David H. Bailey) 

 John Field was an Irish composer, contemporary with Beethoven, whose music embraces the Romantic aesthetic which was emerging in all the arts of the time.  Field wrote  a large number of compositions, among them being 27 nocturnes (including Number 5) which ably demonstrate the delicacy of his compositional technique.  Nocturne No. 5 is a beautiful, restful work which can provide  an excellent contrast to more technically oriented works to help demonstrate the full range of expression which the flute choir is extremely well suited to produce.  It is scored for 3 C flutes, alto and bass. 

Awakening

 Awakening for flute choir and percussion is an exciting new work commissioned by the South Shore Conservatory Flute Symphony.  Full of rhythmic vitality and color, it explores a wide range  of flute techniques while at the same time remaining accessible to performers and audience alike.  The composer wrote Awakening thinking of the evolvement of a new idea, exploring it and finally  incorporating it into one's life.  The Nashua Flute Choir choreographed this piece with a ballet group!  It is scored for piccolo, 8 C flutes, alto, bass, and vibraphone/percussion. 

Gwion

Gwion is a pseudonym , the name of an English poet of the 12th century corresponding to the Irish hero Fionn.  Robert Graves wrote about him in the book The White Goddess.  In Galante's imagination, the principle melodies  of this piece have a lot to do with Ireland.

Scored for 1 piccolo, 1 C flute, 1 alto flute & 1 bass flute.

Emilio Galante has created a flowing atmosphere using smooth arpeggiations throughout the flute orchestra.   This piece would provide a stunning addition to any serious flute choir's programming.

2 piccolos, 2 C flutes, 2 alto flutes & 2 bass flutes. 

Pasquinade (Caprice) Op. 59
(Arr. by Anthony McDonald)

Written around 1869, Pasquinade, subtitled "Caprice", is a light, dance-like piece, composed for one of the many salon concerts that Gottschalk, a virtuoso pianist, gave throughout the United States and Europe. Being a native of New Orleans, his music often drew on Creole and Afro-Hispanic as well as ethnic American and African American influences, however, he also incorporated the styles of the Liszt, Chopin and other great piano composers of his time. It features the rhythm of a gavotte, but also a syncopated second theme, which foreshadows a style that will eventually become ragtime. The work has a carefree joyous manner and will also have the flair of a virtuoso showpiece. This arrangement was commissioned by Kathrine B. Jones and The Ohio State University Flute Troupe for their performance at the National Flute Convention in Nashville, Tennessee, 2004. Scored for picc., 4 C flutes, alto & bass.

Gottschalk is considered by many to be one of the most important American composers of the 19th century.   This arrangement is one of Gottschalk's most popular Caribbean-influenced piano pieces scored for piccolo, 2 C flutes, one alto and one bass flute.  It may be performed effectively by either a quintet or by a flute choir. 

Danza Española
(Arr. by John Davis)

Enrique Granados helped shape the direction that Spanish music would take at the beginning of the 20th century. In this arrangement of one of Granados' early piano works, we hear the insistent melodies, rhythms and colors that characterize his very individual compositional style.
Scored for picc., 3 C flutes, alto & bass. 

 Falls House Press is now the exclusive distributor for Haggis an' Neeps award winning pieces!

Take 50% off retail price! 
All the arrangements can be played with an orchestra since the original orchestral parts are all in the same keys.

Four Flutes - 2 C Flutes, Alto Flute & Bass Flute

Handel - Ariodante	HN401 - $25
Massenet - Manon	HN402 - $25

Five Flutes - 3 C Flutes, Alto Flute & Bass Flute.

Bizet - Pastorale & Chorus	HN 501 - $20
Bizet - Minuetto	HN 502 - $20
Bizet - Carillon	HN 503 - $20

In both the 4 flute and the 5 flute arrangements there is an optional C flute part that helps support the Alto Flute, a Clarinet part that replaces the Alto Flute, and a Cello / Bassoon part that replaces the Bass Flute.   The parts can be played one on a part or multiple people on a part.  For example, one of the 4 flute pieces can be played by (1) 2 C Flutes, Alto Flute and Bass Flute; (2) 2 C Flutes, Clarinet and Cello ; (3) 5 people on Flute 1, 5 people on Flute 2, 3 people on Alto Flute with 2 on the optional C Flute and 3 people on Bass Flute with 2 Bassoons, etc..

Concerto Grosso, Op. 6, No. 3
(Arr. by John Davis)

Handel's Concerto Grosso, Op. 6, No. 3 is somewhat more mysterious in origin  than the other six in the original set first published in 1734 since no original manuscripts have survived.  The particular movements and their order of inclusion were just as likely the choice of the  publisher as that of the composer.  Nonetheless, it is a concerto of great variety, with challenges for the two soloists and the entire ensemble.  This arrangement is scored for 5 C flutes (flutes 1 & 2 as soloists) , alto flute and bass flute.

Horseman Quartet, Op. 74, No. 3
(Arr. by David H. Bailey)

The Horseman Quartet, so named because of the primary themes of the first and fourth movements , brings the challenges of string quartet music to the flute world.  It is in traditional string quartet four-movement form, opening with an allegro, followed by an andante, a minuet in the best Haydn tradition  and concluding with another lively allegro.  It is an energetic, fun work which will delight audiences while giving the musicians exciting challenges.  Scored for piccolo, 2 C flutes & bass flute ( with alternate alto flute).

Jig from St. Paul's Suite 
(Arr. by John E. Davis)

Originally a work for chamber orchestra, this energetic jig demonstrates well the composer's great interest in English folk music. Scored for picc., 4 C flutes, alto & bass and may be performed effectively either one-on-a-part or with judicious doubling for a larger ensemble.

This transcription captures the light and whimsical air of the original orchestral  work while showing off the broad range of the flute choir.

Piccolo, 4 C flutes (one doubles on 2nd piccolo w/alternate Eb flute), alto, bass & contrabass flute (contrabass part available upon request).

Mars for flute choir is arranged to present the full orchestration of the original work, certainly an intriguing and musically challenging addition to the flute choir repertoire.   Scored for 8 C flutes (one doubling piccolo), alto & bass flute with optional bass and percussion.

With its light and fluid air, Mercury is a natural transcription for flute choir, perfectly suited to the medium.  Mercury is arranged for eleven required voices with a mostly optional contrabass flute part. Its constant shifts in beat placement and rhythms as well as its use of the full range of the flute choir will make it an interesting addition to the repertoire. This piece will prove a real challenge for the advanced flute choir. Scored for 3 piccolos, 5 C flutes, 2 alto flutes, bass flute and optional contrabass flute.

St. Paul's Suite is in 4 movements: a Jig that sounds like an English fiddle tune; a quiet Ostinato (Presto); an Intermezzo with a rhythmic melody based on an Arab song; the Finale with the familiar English folk tune (the Dargason) used as a counter-melody with the familiar English song Greensleeves. It is an expandable flute choir arrangement scored for picc, 4 C flutes, alto & bass

This arrangement is an abbreviated version of all seven movements of The Planets--the 60 minute original version has been reduced to 20 minutes and is accessible to both small and large flute ensembles of intermediate through advanced level.  Scored for 4 flutes with opt. alto, bass and contrabass parts, this arrangement may be performed in its entirety by ensembles as small as four c-flutes, as well as by larger ensembles with access to alto, bass and contrabass flutes.

Venus is a positively splendid match to the flute choir with its lush chords and gorgeous melodies. It's a true tour de force, requiring 15 independent parts. Though not technically demanding, it calls for a great deal of dynamic control and group balance. 

2 piccolos, 10 C fl, alto, bass & optional contrabass.  This piece is featured on our Points of View CD. 

Bethena
(Arr. by David H. Bailey)

This is a great ragtime addition to any library.  It is a waltz, so the square rhythm of the march-based rags  is rounded and smoothed by the waltz feeling, yet the characteristic syncopation permeates the music.  Bethena is very happy and lively in character, and provides a bright change of pace for any concert, "serious" or pops.   Enjoy it. 

Piccolo, 2 C flutes, alto & bass flute.

Praise the Lord With Flutes
(Arr. by Robert Cathey)

This work was originally composed for pipe organ. The C flutes often echo each other as they move rapidly in parallel thirds and the alto & bass parts are prominent. The mood is joyous and light, and it is perfect for a wedding recessional! It is scored for 4C flutes, alto & bass (optional piccolo and alternate C flute version for the alto part).

Intermezzo-Cavalleria Rusticana 
(Arr. by Art Lambert)

*FINALIST in the 2004 NFA Newly-Published Music Competition

Intermezzo-Cavalleria Rusticana is  a unique arrangement of the lovely Intermezzo, probably the best known piece that Mascagni ever wrote.  Counter melodies woven around the theme complement its beauty to provide memorable music for both performers and audiences.   It is scored for 5 C flutes, 2 alto flutes and 1 bass flute.

The Hebrides (Fingal's Cave) Overture, Op. 26
(Arr. by Rick Pierce)

*FINALIST in the 1996 NFA Newly-Published Music Competition.

*HONORABLE MENTION in the 1997 Newly-Published Music Competition. 

This piece is a transcription of a classical orchestral favorite, considered by many to be Mendelssohn's masterpiece.  It utilizes the entire range of the flute choir and is a real challenge across all 8 parts.

 Piccolo, Eb flute (alternate C flute), 4 C flutes, alto & bass flute.  This piece is featured on our Points of View CD

Madrigali di Monteverdi 
(Arr. by John E. Davis)

These three madrigals written by opera composer Monteverdi come from his 4th book of 5-voice madrigals in 1603. Their expressiveness results in large part from the same flexibility of melodic line and mixed modal/tonal harmonies that also characterize Monteverdi's first excursions into opera.
Scored for 3 C flutes, alto & bass

Divertimento K. 138
(Arr. by John Davis)

 Mozart composed four divertimenti in Salzburg in 1772 between journeys to Italy.  The term "divertimento" implies one-on-a-part chamber music.  Scored for 3 C flutes , one alto and one bass (bass doubling the alto), this piece can be performed with either a flute quartet, quintet, or by a flute choir.

3 C flutes, 1 alto & 1 bass flute (doubles alto).

No more waiting for string players.  Now you can play the entire Mozart Flute Quartet in D Major, K. 285 with your flute choir. Moderately difficult flute parts will keep everyone busy. 3 C, alto & bass.

 The Overture to the Abduction from the Seraglio comes from the opera that was probably Mozart's most popular during his lifetime.  The opera itself has some of the most  brilliant and demanding music Mozart ever wrote and the overture is no exception.  Most of the parts are quite demanding right down to the bass instruments.  This arrangement is done for piccolo, Eb flute (alternate C flute part included), 3 C flutes, alto flute, bass flute and contrabass flute.  The contrabass flute part is optional, though it does provide the depth of the string basses.

 Piccolo, Eb flute (alternate C Flute), 3 C flutes, alto flute, bass flute & optional contrabass flute.

Pretty Maid is a charming and vivacious chorus excerpt from Mozart’s opera Don Giovanni. It depicts country villagers singing and dancing. It is a lively two-minute piece of intermediate difficulty that is perfect for a concert opener or encore. Scored for piccolo, 4 C flutes, alto & bass

This is a transcription of a string quartet dedicated to Haydn.   It is scored for 2 C flutes, alto & bass flute, and all four players have a chance to take leading roles thus making this quartet both challenging and interesting to the performers and audience as well.

This symphony was composed in 1764 and is in 3 movements. This arrangement is made available so that the early Mozart can be experienced by both musician & audience alike. The instrumental designations have been made to assist in keeping the parts straight-Flutes A, B, C an alto were originally the 2 oboe & 2 horn parts. Flutes 1, 2, alto & bass represent the original string parts and, except for the bass, they are divisi in several spots and should be played by more than one player if possible.

Ascendo ad Patrem
(Arr. by David H. Bailey)

*HONORABLE MENTION in the 1996 Newly-Published Music Competition. 

*HONORABLE MENTION in the 1995 Newly-Published Music Competition. The rhythmic and contrapuntal nature of this late Renaissance Italian music represents  an important stylistic contribution to the flute choir repertoire.

Piccolo, Eb flute (or C flute alternate), C flute, alto & bass flute.

Lady Radnor's Suite
(Arr. John Davis)

This piece is a delightful four movement work that combines very "English" sounding melodies and harmonies within a framework of buoyant, baroque-style dance movements. This unusual late 19th century work for string orchestra is arranged for 3 C flutes, one alto flute & one bass flute part, accommodating an ensemble of five to eleven flutists, and all movements are PERFECT for weddings! This piece is featured on our Points of View CD.

I Think I'm Going To China

 *SEMI-FINALIST in the 1994 NFA Newly-Published Music Competition.

This new and charmingly-fanciful piece has a calliope feeling!

Piccolo, 3 C flutes, alto & bass flute. 

This arrangement of the old English folk tune is embellished with an original countermelody. 

3 C flutes, alto & bass flute.

Menuet from le Tombeau de Couperin
(Arr. by John E. Davis)

This menuet comes from a suite of 6 17th century forms and dances that pay homage to Couperin. Ravel infuses the stately minuet form with impressionistic melody and harmony, blending with mastery the old and the new.
Scored for picc, 3 C flutes, alto & bass.

This arrangement of Ravel’s complete Mother Goose Suite retains all the beauty and charm of the orchestral version, and is equally satisfying. The keys, dynamics and articulations are the same as the original, and all of the famous flute and piccolo solos are completely intact. An audience pleaser, it is a triumph for any advanced flute choir. Scored for picc., 4 flutes, alto, bass, bass clarinet (opt. contrabassoon) and harp.

Sheherazade, The Prince and the Princess
(Arr. by Art Lambert)

The entrancing melodic themes of the young Prince and Princess movement, some of the best that Rimsky-Korsakov ever wrote , are woven into a flute choir arrangement which captures all the grace, beauty and excitement of the original orchestral score.  Scored for 5 C flutes, 2 altos and one bass flute.

The Sound of Music Medley
(Arr. by Rick Pierce)

Sound of Music Medley with SATB Chorus

 Looking to combine the unique sound of your flute choir with a vocal ensemble?  The Sound of Music Medley, written for 6 part flute choir (4 C flutes, alto and bass flute) and 4 part SATB choir is a medley  of 8 songs from the popular Rodgers and Hammerstein musical of the same name.  Cues are provided in the flute parts so this can also be a stand alone piece.  This ten minute musical delight is guaranteed to be a  crowd pleaser for both the listeners and the performers.  The vocal parts are available in a large size score as well as a smaller version.  The following pieces are included:

• The Sound of Music
• Maria
• The Lonely Goatherd
• My Favorite Things
• Do-Re-Mi
• Edelweiss
• So Long,Farewell
• Climb Ev'ry Mountain

Large Score
Cat. #FC-P33...$6.00

Small Score
Cat.#FC-P34...$2.00

Fantasia

(Arr. by Martin Melicharek)

 This work is set for two antiphonal flute choirs against the bass and alto flutes.  One choir represents the great manual of the organ, the other the swell manual, and pedal by the bass and altos.   These enhance the antiphonal effect the composer wished to realize on the organ.  Scored for 6 C flutes, alto & bass flute.

Sonata VI
(Arr. David H. Bailey)

Sammartini wrote a large number of trio sonatas, which would have been performed by two soloists and basso continuo.   This setting places the basso continuo part in the flute choir, removing the need for a keyboard instrument and allowing the similar tone color of a choir of flutes to provide an exquisite background for the beautiful solo lines.   The solo lines are not beyond the abilities of most flutists so this work provides an opportunity to feature players who might not qualify to play more demanding solo lines.  This is easy enough for high  school flute choirs to perform, yet provides great opportunity for intonation work and balance which will challenge most adult flute choirs as well, all in a work which will delight audiences.

2 piccolos, 1 C flute, alto & bass flute. 

Canzona Bergamasca
(Arr. David H. Bailey)

A Canzona is a contrapuntal work exemplary of the complex instrumental  music of the late Renaissance and Early Baroque, epitomized by the Gabrielis in Venice and by Scheidt and others in northern Europe.  The Bergamasca is an Italian dance of the 16th and 17th centuries , originating from Bergamo in northern Italy.  This work really shines at a brisk tempo and is a great showpiece when all the notes are tongued.  A bright happy work with great challenges for all the parts. 

Piccolo, 2 C flutes, alto & bass flute.

Views from Falls House

*HONORABLE MENTION in the 2004 NFA Newly-Published Music Competition

Views from Falls House was commissioned by and dedicated to The Nashua Flute Choir, Inc. is a 5 movement work. The piece is only moderately difficult requiring no extended techniques. Audiences are sure to respond to its' insistent melodies and varied moods as well as its' wry humor. 

The title Views from Falls House was inspired by the drawing of Falls House, Douglas Worthen's 1750 home in Durham, NH. Schocker had recently seen a production of the play Our Town by Thornton Wilder. The drawing of the Worthen home reminded him of Our Town at an earlier time in our country and inspired the feelings which led to the composition of this piece. 

Now the Lusty Spring is seen in the first line of a poem by John Fletcher. Mr. Schocker took the opening musical line from a song he wrote to that poem. The poem is a charming admonition to flowers "Ladies if not plucked we die". Too Hot for this Picnic was his way of describing this wilted waltz. When Autumn Leaves Begin to Fall is in a similar mood to Johnny Mercer's song Autumn Leaves. "I'll miss you most of all when autumn leaves begin to fall..." The song is a long look back with mixed emotions. Congregation is a flute prayer meeting. Festivity is a busy bustling kind of piece. 

The commission is sponsored by the Brannen-Cooper Fund. Scored for piccolo, 4 C doubled parts, alto & bass. This piece is featured on our Points of View 

Echo
(Arr. David H. Bailey)

Scronx was an early 17th century church organist in Liege.  Many churches of the day contained several different organs  in different choir lofts or alcoves of the church.  Such built-in antiphonal qualities led composers to write "echo" works for these organs.  These echo compositions lend themselves to the modern flute choir , which can be divided into two groups placed far apart from each other.  The bouncing of the music from group to group is very enjoyable and demands special attention from the musicians to echo each other as nearly as possible.   While not very technically demanding, the timing and other musical challenges make it a great addition to any flute choir's library and it is sure to please audiences as well.

Choir 1: Piccolo, C flute 1, bass flute 1 
Choir 2: C flute 2, alto flute, bass flute 2

Echo Fantasia
(Arr. David H. Bailey)

In older churches there were often two or more organs in different locations around the church.   Antiphonal choral music often made use of the different locations, as did the antiphonal brass music of the Gabrielis in Venice.  This echo fantasia made use of the different locations of organs , along with the different voicings of the organs, to create the echo effect.  In this setting for flute choir, this fantasia provides an excellent way to use the different voices of flutes and an antiphonal positioning  to achieve the same effect.  It utilizes two choirs, one including piccolo, C-flute and bass flute and the other one utilizing C-flute, alto and bass flute.  The C-flute parts have several divisi passages , requiring two players, but the other parts can be performed with only one on a part, or several can be used on each part to achieve a more choral effect.

Fickle Folks
(Arr. Art Lambert)

A trio of traditional British folk songs with lilting melodies are blended into a joyous lively medley which belies the common lyrical theme of love left behind. The arrangement introduces a contrapuntal piccolo obligato, counter melodies and syncopation to achieve a cross rhythmic effect. 
Scored for 5 C flutes (one doubling picc), 2 altos and one bass.

Concerto Grosso, Op. 3, No. 8
(Arr. by John Davis)

This concerto grosso features solo parts for flute 1 and 2 , which can also be doubled.  This arrangement is scored for 4 C flutes, alto & bass flute, with alternate parts provided for the alto & bass flute parts.