This is a set of repertoire pieces that could supplement any method book. These mostly stem from the “traditional” repertoire with two additions in the later books by the authors. The pieces come with written accompaniment and the flute part in the same book, but one may also access recordings of the accompaniment online. These pieces move progressively in difficulty in each book.
I personally enjoyed the “Beginning” book for it’s use of cuttime. It honestly looks like 4/4, which means we can count it that way first then make the leap to cuttime. This also goes for Greensleeves, which is in 3/4 in this book but you an easily transcribe it into compound time. This book also has a variety of tempo markings like larghetto, allegro non tanto and with simple tenderness all accompanied by actual metronome markings. For the band student, this offers a nice variety of key signatures with and without flats. There are some gentle ornaments like easy trills and grace notes in these pieces. There are also repeats, and other road map markings gently extending the length of some pieces.
The “Intermediate and Advanced” books continue the “traditional” repertoire with slightly more difficult ornaments and of course repeats in many forms. There are plenty more accidentals and technical issues in these pieces as well as rhythms that look hard, but really are not. The intermediate book introduces some tempo marking changes within the piece. There are even several multi-movement pieces. These books also introduce some extended techniques like harmonics and flutter-tonguing. My favorite part though was the introduction of 7/8 and 5/8. The authors mercifully set up an accompaniment with oom pahs (in the appropriate patterns) to help the performer feel the counts better. The modern harmonies are gently introduced in such a way to not send everyone running, but still to give a bit of a challenge to the ear. In the advanced book, the accompaniments get far more complicated forcing the soloist to be more independent and stick to more of the traditional repertoire. The more “modern” things like odd meters and extended techniques are discontinued in the advanced book for more traditional repertoire with the exception of the first piece which has a more modern sound to it.
Highlights
Pieces include: Beethoven: “Ode to Joy,” from Symphony No. 9, Op. 125; J. S. Bach: “Chorale” from Cantata No. 147; Corelli: “Gavotte” from Sonata No. 10, Op. 5; Dvořak: “Largo” from New World Symphony No. 9, Op. 95; Mozart: Sonata #9, I.Andante grazioso; The Ashgrove; Greensleeves; Guilllô, pran ton tamborin; Khatchaturian: Andantino; Vivaldi: “Largo” from Winter Concerto No. 4, Op. 8; J. S. Bach: “Menuet 2” from Suite No. 1 pour le Clavessin; J. S. Bach: “Pastorale” from Sonata No. 4, Op. 16; MacDowell: “To a Wild Rose” from Woodland Sketches, Op. 51, No. 1; Mozart: “Rondo Alla Turca” from Sonata No. 9; Pleyel: “Andante” from Sontina Op. 48, No. 1; Corelli: “Gigue” from Sonata No. 9, Op. 5
Piano accompaniment is available
Time Signatures: cuttime, 3/4, common time; 6/8,
Key Signatures: no flats/sharps; one flat; one sharp; two sharps; three flats; three sharps; four flats;
Range of notes: E1-E3
Rhythm (in addition to above): whole notes, half notes, dotted half notes, quarter notes, eighth notes, dotted quarter eighths, sixteenth notes
Road Maps: repeats, D. S. al Fine, D. C. al Fine, D.C. al Coda
Ornaments: trills, grace notes
Note: Flute and piano part are printed as one book – piano/flute in the front and flute part only in the back.
Can supplement any method book and moves
progressively
Piano accompaniment available in book and
onoine
Variety of tempo markings with metronome
assist
Easy cuttime to 4/4
Pieces include: Emile Pessard: Andalouse; Gluck: “Dance of the Blessed Spirits”, from Act III of Orpheus and Eurydice; Bizet: “Menuet” from L’Arléssienne, Suite No. 2; Mozart: “Menuetto and Trio” from Eine Kleine Nachtmusik; Gilliam and McCaskill: Petite Suite; Handel: Sonata in F Major, Op. 1, No. 11; Haydn: String Quartet Op. 3, No. 5, II
Piano accompaniment is available online through web site given in front cover and on CD.
Time Signatures: 4/4, ¾, 7/8, 5/8, 6/8, 12/8
Key Signatures: D Major, e minor, Eb Major, C Major, Ab Major, F Major, G Major
Range of notes: E1-G3
Rhythm: quarter notes/rests, eighth notes, dotted-quarter-eighths, dotted eight-sixteenths, half notes, whole notes, eighth notes, sixteenth notes, septuplets, thirty-seconds, thirty-second triplet
Ornaments: Grace notes
Special Marking: repeat signs, harmonic fingering, D.C. al Fine, trill, flutter-tonguing, Menuetto da Capo
Note: Flute and piano part are printed as one book – piano/flute in the front and flute part only in the back.
Can supplement any method book and moves
progressively
Piano accompaniment available in book and
onoine
Extended techniques
Non-usual meters in one piece that flip frequently
Pieces include: arr. McCaskill/Gilliam after Bach/Müller-Berghaus/Wenzel: Diversions on a Bach Prelude; Fauré: Fantaisie, Op. 79; J.S. Bach: Sonata in E-flat Major, BWV 1031; Telemann: Fantasia No. 2 in a minor;
Piano accompaniment is available online through web site given in front cover and on CD.
Time Signatures: ¾, 6/8, 3/8, 4/4, 2/4
Key Signatures: three flats, one sharp, no sharps/flats, two flats
Range of notes: C1-C4
Rhythm (in addition to above): quintuplets, sectuplets, triplets, thirty-seconds, super-triplets
Road Maps: repeats
Ornaments: trills, grace notes
Special Marking: glissando, holds
Note: Flute and piano part are printed as one book – piano/flute in the front and flute part only in the back.
Can supplement any method book and moves
progressively
Piano accompaniment available in book and
onoine
More complicated accompaniment
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