Program Notes – Phyllis Avidan Louke

Teaching Materials

Flute 101: Mastering the Basics
A Method for the Beginning Flutist with Teaching and Phrasing Guides
by Phyllis Avidan Louke and Patricia George, pub. Theodore Presser Company

Flute 101: Mastering the Basics is a uniquely comprehensive teaching resource which, in one book, takes the student through the introductory, beginning, and intermediate curriculum. The innovative lesson plans present, in a clear and logical sequence, songs, duets, and creative activities to develop tone, technique, and musicianship. The pioneering set of teaching and phrasing guides make FLUTE 101: MASTERING THE BASICS a must-have staple of the flute teaching studio, university studio and woodwinds methods classes. 80 pages. Sample Pages

Flute 102: Mastering the Basics See Reviews
A Method and Solo Collection for the Intermediate Flutist
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company
Winner in the 2013 NFA Newly Published Music Competition

Flute 102: Mastering the Basics continues the technical, creative, and musical development of intermediate flutists by integrating etudes, solo repertoire, orchestral excerpts, duets, and contemporary techniques into an innovative curriculum. Lesson plans present, in a clear and logical sequence, activities to develop tone, vibrato, technique, and musicianship. The phrasing guides, practice suggestions, and prelude activities expand on the pedagogical approach used in FLUTE 101, making FLUTE 102 a must-have staple – perfect for use in the private and university studio. Solo Repertoire includes: The Ash Grove, The Campbells are Coming, All Through the Night, Rakes of Mallow, Minuet from L’Arlesienne Suite No. 2 by Bizet, Andante by Concone, Air with Variations by Concone, Pan Pastorale by Donjon, Humoreske by Dvořák, La Cinquantaine by Gabriel-Marie, Gavotte by Gossec, Tambourin by Gossec, Sonata in F Major by Marcello, Andante in C Major by Mozart, Menuet 1 and 2 from Suite in A minor by Telemann, Passepied 1 and 2 from Suite in A minor by Telemann, La Donna è Mobile from Rigoletto by Verdi. Spiral bound. 100 pages. Sample Pages

Flute 102: Piano Accompaniments
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company

Flute 102: Piano Accompaniments includes piano accompaniments for the flute solo parts found in Flute 102: Mastering the Basics. All flute parts are included in Flute 102: Mastering the Basics . 48 pages. Sample Pages

Flute 103: Mastering the Basics See Reviews
A Method and Solo Collection for the Intermediate Flutist
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company
Winner in the 2014 NFA Newly Published Music Competition

Flute 103: Mastering the Basics continues the technical, creative, and musical development of advanced intermediate flutists by integrating etudes, solo repertoire, duets, and contemporary techniques in the major and relative minor keys of Ab, E, Eb, B, and Gb into an innovative curriculum. Lesson plans present, in a clear and logical sequence, activities to develop tone, vibrato, technique, and musicianship. The phrasing guides, practice suggestions, and prelude activities expand on the pedagogical approach used in the award-winning Flute 102, making Flute 103 a must-have staple–perfect for use in the private and university studio. Solo repertoire includes: Scherzino by Joachim Andersen, Sonata for Flute and Piano by Donizetti, Minuet and Dance of the Blessed Spirits by Gluck, Sonata in F Major by Handel, Andalouse by Émile Pessard, Little Rogue Gavotte by Popp, Jade by Ferroud, Fantasia No. 4 in Bb Major by Telemann, Caprice No. 13 by Karg-Elert. Spiral bound. 92 pages. Sample Pages

Flute 103: Piano Accompaniments
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company

Flute 103: Piano Accompaniments includes piano accompaniments for the flute solo parts found in Flute 103: Mastering the Basics. 36 pages.

The Flute Scale Book: A Path to Artistry See Reviews
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company
Honorable Mention in the 2012 NFA Newly Published Music Competition

The Flute Scale Book: A Path to Artistry includes the teacher’s and performer’s dream list of scale studies. Besides the scales, there is a chapter on what to do with the notes once you have learned them. Also included are Practice Guides with hundreds of rhythms and articulation patterns to practice any group of six or eight notes and Sample Practice Plans that provide an organized curriculum with weekly practice suggestions. The Flute Scale Book: A Path to Artistry is designed for a lifetime of use with embouchure development and scale exercises perfect for younger players, and more advanced exercises including audition scales, phrasing studies, major and minor scales, thirds, arpeggios, seventh chords, modal scales, chromatic intervals, tonguing exercises and more, extended to D4 and beyond, to satisfy the needs of professional players. The Flute Scale Book: A Path to Artistry is now published by Theodore Presser Company. This new edition retains the same price and content as the earlier edition, plus 14 pages of additional exercises including: Neighboring Tone Scales, Five-Note Minor Scale Patterns, Dominant Seventh Chords, Chromatic Diminished Triads, Chromatic Diminished Seventh Chords, Major Seventh Chords, Chromatic Old Faithful: Stalagmites & Stalactites, Kuhlau Bass Tone Exercise, and more! Spiral bound. 144 pages. Sample Pages

Advanced Flute Studies: The Art of Chunking
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company
Finalist in the 2015 NFA Newly Published Music Competition

Advanced Flute Studies: The Art of Chunking presents the first and only method for flutists to master the process of “chunking” as a pedagogical technique. Through exploration of technical studies, etudes, preludes, cadenzas, and solos, the flutist is introduced to basic and advanced chunking techniques to facilitate reading and tone development. Fosters the development of tone and articulation, organizes eye/hand coordination and enhances technical development using the chunking technique. Inspires creativity and musical expression with the study and performance of preludes and cadenzas. Also contains three unaccompanied solos, plus appropriate repertoire suggestions from various style periods. Musical Bon Bons for articulation, intonation, and tone development, are also integrated into the innovative curriculum. Continuing the pedagogical approach used in FLUTE 101, FLUTE 102, and FLUTE 103, THE ART OF CHUNKING introduces a powerful learning strategy, making it a must-have staple – perfect for use in both private and university studios. 162 pages. Spiral bound. Sample Pages

The Flute Vibrato Book
by Patricia George and Phyllis Avidan Louke, pub. Theodore Presser Company
Vibrato is one of the most controversial topics in flute playing. One school of thought maintains it cannot and should not be taught; adding it will appear in the sound once the flutist has found his musical, expressive soul. Another school of thought champions that vibrato can and should be taught once the teacher hears any suggestion of natural vibrato in the student’s tone. Part of the mystique of flute vibrato has been the lack of understanding about how it is produced. Modern technology has now given us the tools to understand vibrato production. Once understood, it becomes clear how to approach the teaching of vibrato. Practicing these vibrato exercises daily and recording your practice frequently will guide your path to artistry. 48 pages. Sample Pages

Music for Flute Alone

Spirit of the Stallion
by Phyllis Avidan Louke, pub. Theodore Presser Publications

Spirit of the Stallion is a programmatic work for solo flute in two movements commissioned by David Etienne and dedicated to Charles Littleleaf, Native American flutist and traditional flute maker.

The first movement, Warm Springs Serenade, begins with a short cadenza that should be played freely. The movement is meditative and flowing, expressing the beauty of the Warm Springs Reservation in Central, Oregon. Bordered by the Deschutes (deh-shoots) River, this high desert area has a back-drop of snow-covered mountains. In measure 18, and again at the end of the first movement, there is one measure of “wind noise” that should sound like wind blowing through the trees. Experiment with different sounds blowing into the embouchure hole both covered and partially covered, until your are satisfied with the sounds produced. These can include blowing with force, and gentler whistle tones.

The second movement, Gallop at Sunrise, features an exciting ride over the high desert, with stops along the way to admire the view. Double-tonguing, 5-tuplets, 6-tuplets, and grace notes contribute to the excitement. The short cadenza near the end of the movement should be played expressively without strict tempo. (7:00) Level 3+ more info

1-Warm Springs Serenade

2-Gallop at Sunrise

ContraBasie Blues for solo flute and opt. bassline accompaniment
by Phyllis Avidan Louke, pub. ALRY Publications
Honorable Mention in the 2017 NFA Newly Published Music Competition
mp3

ContraBasie Blues is a jazz solo originally written for solo flute, or for flute and optional bassline accompaniment. Originally written for contrabass flute, this solo may be played by any member of the flute family; there is a concert pitch part (for c-flute, bass flute, or contrabass flute) and a transposed part for alto flute. The optional bassline accompaniment may be played by bass flute or contrabass flute, string bass, or even rhythm section (chords are included).

Several jazz chord progressions are used in this composition: a standard blues, as well chord progressions used by Count Basie in some of his many jazz compositions, and the chord progression used in the well-known Dixieland Jazz tune, Basin Street Blues. The title of this composition comes from the play on words from the Count Basie progressions. The tempo is not too fast; it’s in the style of a ballad. Level 3 (3:20) more info

Music for Alto Flute, Bass Flute, or C-Flute and Piano

As the Clouds Parted
by Phyllis Avidan Louke, pub. ALRY Publications

As the Clouds Parted is a series of five character sketches for alto flute and piano, commissioned by Mary Novak Sand. Also suitable for performance on concert flute, parts for both alto flute and concert flute are included.

The title As the Clouds Parted is a metaphor for happiness—when the clouds part, the sun comes out. The music in this suite is tied together with a theme of happiness.

Happiness is finding true love in Romance. Happiness is the joy and the freedom in Gallop. Happiness is the sweet tenderness of singing a child to sleep with a Lullaby. Happiness is enjoying a musical joke in Scherzo. Happiness is a fanfare and enjoying a happy ending in Finale. (10:00) Level 3+ more info

1-Romance

2-Gallop

]3-Lullaby

Big Sky
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews

Big Sky is a programmatic work in four movements written for alto flute and piano. Also suitable for performance on concert flute, parts for both alto flute and concert flute are included. Commissioned by Margaret Schuberg, flute professor at The University of Montana-Missoula, Big Sky is descriptive of the scenery, wildlife and lifestyle of Montana. (9:30) Level 3+

Movement 1: Big Sky. This movement celebrates the beauty and grandeur of Montana in a movement reminiscent of Aaron Copland with open chords and large intervals in the melody. Movement 2: Riding the Range. Written in alternating 6/8 and 3/4 time signatures, this movement depicts the loping rhythm of a cowboy and his horse on a cattle drive. Movement 3: Cry of the Eagle. This movement opens with harmonics, timbral trills, and pitch bends played freely to simulate the cry of an eagle. In the poignant melody that follows, you can feel the eagle soaring freely in the sky. Movement 4: Whitewater on the Blackfoot. This movement details the excitement of river rafting on the Blackfoot River. Calm and gently flowing waters lead to a wild ride on the whitewater. (9:25) Level 3 to 3+ more info

1-Big Sky

2-Riding the Range

3-Cry of the Eagle

4-Big Sky

Blessings & Celebration
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Finalist in the 2008 NFA Newly Published Music Competition

Blessings & Celebration is a programmatic work in two movements written for bass flute and piano, but is suitable for performance on alto flute (separate part is included) or concert flute. The first movement, Blessings, is expressive, beautiful and heart-felt, like a blessing or a prayer. The short cadenza should be played freely, with emotion. The second movement, Celebration, is a joyful syncopated dance tune celebrating a happy occasion such as a wedding. Several sections are marked with an option to take them up an octave, if desired. Alto flute and concert pitch parts are included. (6:45) Level 3 to 3+ more info

1-Blessings (partial)

2-Celebration

Castle in the Mist
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Finalist in the 2008 NFA Newly Published Music Competition

Commissioned by Sue Blessing for alto flute and piano, Castles in the Mist is reminiscent of the Renaissance period, of lords and ladies, and knights in armor. This piece may be used to showcase different members of the flute family on each of its three movements (alto, bass, c-flute and/or piccolo), or may be performed solely on alto flute or concert flute (both parts and performance suggestions are included). Movement 1, The Journey Home, finds the knights of the kingdom wearily returning home from their long and arduous quest. Movement 2, Peace in the Kingdom, describes the peace and comfort felt by the people of the kingdom, now that the knights have returned to the castle. Movement 3, Danse and Celebration, describes the celebratory feast in the castle honoring the knights’ return to the castle. Alto flute and concert pitch parts are included. (13:30) Level 3 more info

1-The Journey Home

2-Peace in the Kingdom

3-Danse and Celebration

Christmas Landscapes
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews

Christmas Landscapes is a collection of four beautiful Christmas solos suitable for church, holiday performances and family gatherings that can be played on the alto flute, bass or c-flute. Performance suggestions are given for each Christmas Carol, including marked sections where the octave can be varied for contrast. Each carol has a repeat which contains textural changes in the piano from the first time through. Alto flute and concert pitch parts are included. (12:00) Level 2-3 more info

Bring a Torch, Jeannette Isabella is a lovely setting of a 17th century French Carol with a lilting melody in 3/8 time. This carol begins with a simple accompaniment to the flute melody followed by a descant. (2:30)

O Come, O Come Emmanuel, a 15th century French Carol, begins with unaccompanied alto flute followed by a flowing piano part and a descant. The piano entrance at measure 96 can be delayed to the last beat of measure 101, if the performers prefer. This arrangement also features a beautiful interlude between verses. (4:00)

Infant Holy, Infant Lowly is a traditional Polish carol in 3/4 time. This beautiful lullaby begins with a simple accompaniment to the flute melody followed by a descant. (2:00)

Hark! The Herald Angels Sing is a joyful traditional carol that begins with flute melody with a simple accompaniment followed by a descant. (3:30)

1-Bring a Torch

2-O Come, O Come Emmanuel

3-Infant Holy, Infant Lowly

Hark! The Herald Angels Sing

Echoes in the Wind—A Native American Soliloquy (for alto flute & piano)
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Honorable Mention in the 2002 NFA Newly Published Music Competition
Listen

Commissioned by Sue Blessing, Echoes in the Wind evokes the image of a solitary Native American flutist playing from a mountaintop to the valley below. This piece takes advantage of the beautiful and unique sonority of the alto flute in the upper register. The haunting quality of the alto flute conveys the elusiveness of the wind, as it ebbs and flows through this piece. Can also be performed on C-Flute. (part included). (7:00) Level 2+ more info

Extended Techniques—Solos for Fun
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Finalist in the 2008 NFA Newly Published Music Competition

This book of extended technique solos for flute and piano is a follow-up to the duet book Extended Techniques—Double the Fun. The solos are written so the players can have fun with them even before they’ve mastered the techniques and also can serve as demonstration material for the different types of sounds the flute can make. If a pianist is not available, the solos can be played without accompaniment, or with the 2nd Flute part serving as an accompaniment. Basic explanations are provided with each piece, while more detailed explanations on extended techniques are included in the program notes.

These seven original compositions are written in a variety of styles and meters and utilize various extended techniques, including flutter tonguing, key clicks, harmonics, multiphonics, pitch bends, simultaneous singing & playing, tongue thrust, whistle tones, and experimenting with wind noise. Each solo is 1:00 to 2:30 with difficulty level from 1+ to 3. more info

Solo Titles:

Kangaroo (key clicks, sing & play)
Five is Fun (flutter tongue, key clicks, practices playing in 5/8 and 6/8 time)
Frog Waltz (harmonics, tongue thrust)
Fright Night (harmonics, pitch bends, whistle tones, wind noise, experiment making spooky sounds on the flute)
Carnival (multiphonics, sing & play)
Bird Song (flutter tonguing, practices 5-tuplet rhythm)
Catch the Train (multiphonics, pitch bends)[/one_half]

2-Five is Fun

7-Catch the Train

Reflections of Water for Flute & Piano
by Phyllis Avidan Louke, pub. Sheet Music Plus (avail. as digital download) See Reviews

Reflections of Water was written in memory of my father. So many childhood memories of Dad revolved around water—summer vacations spent with my family camping by a mountain stream, fishing in a lake and outings to ocean beaches near my childhood home in Southern California. This programmatic work is in three movements. Scored for flute and piano. (5:00) Level 3

A Cool Mountain Stream utilizes the pentatonic scale to depict a stream as it meanders along, frequently bouncing over rocks and sometimes heading down a slope, eventually ending in a small waterfall that empties into a deep pool. During a summer vacation, my family camped by a stream that was a natural waterslide. We spent many happy hours sliding down the waterslide into the pool below.

A Quiet Morning on the Lake uses the repetitive rocking motion of the piano to represent the soothing motion of the rowboat as I spent summer vacations fishing for trout with my dad on a quiet lake in the San Bernardino Mountains.

Frolic in the Surf brings out the playfulness felt at the ocean beach, while getting used to the water temperature and trying to predict when the waves will hit the shore. Many summer days were spent on Southern California beaches with family and friends, body surfing, tanning and simply playing in the waves.

1-By a Cool Clear Mountain Stream

2-A Quiet Morning on the Lake

3-Frolic in the Surf

Music for Two Flutes or Multiples

Jewish Liturgical Music for Two Flutes
arr. Phyllis Avidan Louke, pub. ALRY Publications
Finalist in the 2000 NFA Newly Published Music Competition

This compilation of Jewish Liturgical Music contains music that is a regular part of Friday night and Saturday morning Sabbath Services. The Flute 1 part is the melody, while Flute 2 is the accompaniment/counter melody. Chords are included for each piece, so that a piano or guitar accompaniment can be used with either one or both flute parts. This project is dedicated to Cantor Linda Shivers of Congregation Neveh Shalom in Portland, Oregon in thanks for her assistance in choosing the melodies for this book. Each duet is approximately 2:00 each. Level 2

The following melodies are included in this collection:

Adon Olam (Lord of the World) Traditional Melody
Yigdal (The Living), Traditional Melody
Ahavat Olam (With Everlasting Love), based on traditional motifs, Eric Mandell
Mogen Ovot (Shield to Our Ancestors), by I. Goldfarb
L’cha Dodi (Let Us Go, My Beloved), by S. Sulzer
Shalom Alechem (Peace Upon You), by S. Goldfarb
Tzadik Katomar (The Righteous Shall Flourish), by L. Lewandowsky
V’Shom’ru (They Shall Observe), by Max Wohlberg

Extended Techniques—Double the Fun
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Finalist in the 2006 NFA Newly Published Music Competition

Kids are going to love Phyllis Louke’s “Extended Techniques–Double the Fun”. These duos are easy, totally accessible, and cheerfully go into new and exciting musical zones. Parents and teachers: get ready for enthusiastic new sounds–and be prepared to hear the word “cool” a lot!

~Robert Dick, September 2003

Suitable for two flutes or ensembles, Extended Techniques–Double the Fun was written to provide an accessible way to learn and practice extended techniques. The 19 duets are written so the players can have fun with them even before the techniques have been mastered. Both Cynthia Stevens and Patricia George provided encouragement and invaluable advice during the writing of this book. Basic instructions for extended techniques are provided with each duet. Most of the duets are original compositions and are suitable for performance or for demonstration material. These duets are great to use with ensembles. Each duet is 1:00 to 1:30 with difficulty level from 1+ to 2. more info

Duet Titles:

*Chopsticks (key clicks)
*Horse Trot (key clicks)
Have You Ever Seen a Lassie? (multiphonics)
*Carousel (multiphonics)
*Windy (harmonics) *Growling Bears (flutter tonguing)
*Telephone (flutter tonguing)
*The Bagpiper (simultaneous singing and playing)
*Laughing (pitch bending)
When the Saints Go Marching In (headjoint only)
*Motorcycle Ride (flutter tongue, pitch bends, multiphonics, harmonics)
Pop Goes the Weasel (flutter tongue, key clicks, sing & play, harmonics, pitch bends)
*Haunted House (flutter tonguing)
*Wind Chimes (whistle tones)
*Yo Yo Tricks (headjoint only)
*In the Shadow of the Sphinx (multiphonics)
*Reflections (multiphonics)
*Jig (simultaneous singing and playing)

*original compositions by Phyllis Avidan Louke

Have You Ever Seen a Lassie

Sonatina for Two Flutes
by Phyllis Avidan Louke, pub. Falls House Press Sample Pages
Finalist in the 2018 NFA Newly Published Music Competition

Sonatina for Two Flutes was commissioned by low flute specialist Peter Sheridan of Melbourne, Australia and premiered in March 2017. The premiere was performed in Portland, Oregon by Peter Sheridan and Phyllis Avidan Louke on two alto flutes. Written to take advantage of an especially beautiful portion of the flute’s range, mostly falling between first octave G and third octave F, Sonatina also brings out beautiful tone colors when played by two alto flutes or two bass flutes.

Written in three contrasting movements, the first movement (Allegretto in 2/4) and the third movement (Jig in 3/8) express unrestrained joy and playfulness, while the beautiful second movement (Andante in 3/4) expresses heartfelt emotion and longing. More info

Level 3 (5:00)

Music for Flute Trio

Adon Olam & Havah Nagilah for Flute Trio
arr. Phyllis Avidan Louke, pub. ALRY Publications

Adon Olam, a Jewish folk song, probably composed in the eleventh century, is a hauntingly beautiful hymn. It consists of ten lines, with the first six lines expressing the Jewish concept of G-d, and the last four lines expressing the faith we have in G-d. This song is one of the traditional songs used to conclude the Jewish Sabbath service in synagogues. Adon Olam is scored for 3 c-flutes. (1:45) Level 2

Havah Nagilah is a Jewish folk song that is played at joyous occasions such as Jewish weddings, bar or bat mitzvahs (a Jewish boy or girl’s coming of age ceremony). The guests at these celebrations dance the “hora” to this song. The hora is a circle dance that usually starts out fairly slow, gradually getting faster and faster with each repeat until it ends (usually when the dancers are too tired to go any faster!) This arrangement is meant to evoke the mood of a celebration and begins almost ponderously. Each repeat of the melody adds more excitement as the song gets faster and faster, finally climaxing with an exciting embellishment of the melody. Havah Nagilah is scored for three flutes. Bass flute can be used on Part 3 (3:00) Level 3

More info

On the Move for Flute Trio
by Phyllis Avidan Louke, pub. Theodore Presser

On the Move is a flute trio for three like flutes of any size, and works well as a larger ensemble piece with multiple flutes on each part. It was written for my dear friends Sharyn Byer, Paige Long, and me to premiere at the 2^nd International Low Flutes Festival in Tokyo, Japan in March 2020. Since the three of us and our husbands love to travel together, we usually find ourselves on the move to travel and make music together at least once a year.

On the Move is written in ABA form with a short coda. The opening (and closing) sections are energetic and rhythmic with some syncopation, while the center section is a little slower and more expressive with lyrical melodies and flowing lines.

All three flute parts are active and rhythmic with three part harmony interspersed throughout the trio. Although much of the melody is found in Flute 1, the other two parts are responsible for the energy and rhythmic drive and frequently have moving parts when Flute 1 does not. (5:30) Level 3-4 more info

Music for Flute Quartet or Flute Choir

Four Renaissance Motets by Tomás Luis de Victoria
arr. Phyllis Avidan Louke, pub. Falls House Press SAMPLE PAGES
   O Magnum Mysterium (O Great Mystery)
   O Quam Gloriosum (O How Glorious)
   O Vos Omnes (O All Ye That Pass)
   Ave Maria (Hail Mary)

These Four Renaissance Motets were adapted from choral music written by Spanish Renaissance composer, Tomás Luis de Victoria. He wrote exclusively Latin sacred music. O Magnum Mysterium is perhaps the most moving sacred setting ever written during the Renaissance. Composed in the phrygian mode, this motet evokes the ancient spectacle of high services in the great stone churches of the Old World. The opening chord progression of O Quam Gloriosum, a motet for All Saints Day, depicts the mystery of transfiguration into the afterlife. After many phrases depicting death, the music leads us to a comforting close as the dead are lead to their eternal home. O Vos Omnes, a motet traditionally performed during Holy Week, is seen as one of the best, combining a perfect polyphonic technique with a highly expressive interpretation of the words. Ave Maria is the composer’s best known work. Scored for 3 flutes and alto flute (C-flute part included), with optional piccolo and bass flute (8:30) Level 3 more info
1-O Magnum Mysterium

2-Ave Maria

Hanukah Suite for Flute Quartet or Flute Choir
arr. Phyllis Avidan Louke, pub. ALRY Publications

Hanukah Suite is a suite of four separate Hanukah songs that can be performed together or separately:
Maoz Tsur, or Rock of Ages, is a hymn-like melody.
Hanukah is a quick and lively melody
Mi Y’Malel (Who Can Retell) consists of a lively chorus in a major key, while the verse is modal, performed in a sostenuto style.
On Hanukah is a pleasant march.

Scored for 4 flutes. Optional Alto Flute parts for Parts 3 & 4 and optional Bass Flute/Contrabass Flute part are included. In addition, for larger groups, piccolo may be added on Parts 1 & 2 where indicated. (10:00) Level 3. more info

Optional parts now available for FREE download: contrabass flute

1-Maoz Tsur

2-Hanukah

Madama Butterfly Suite by Giacomo Puccini
arr. Phyllis Avidan Louke, pub. Falls House Press SAMPLE PAGES
Entrance of Butterfly
Un bel di vedremo (One Fine Day)
Humming Chorus
Addio fiorito asil (Farewell My Enchanted Home)

Flexible scoring allows MADAMA BUTTERFLY SUITE to be performed either by a flute quartet or by a full flute choir. For performance by a quartet, bass flute or alto flute may be substituted for Flute 4. For performance by a flute choir, multiple players may play the Flute 1, Flute 2, and Flute 3 parts, and multiple alto flutes may play the transposed Flute 4 part; bass flutes and contrabass flutes may play the regular concert pitch Flute 4 part. (12:20) Level 3 more info

The Planets by Gustav Holst
arranged by Phyllis Avidan Louke, pub. Falls House Press See Reviews

Columbia Flute Choir read through The Planets last night. We loved it! It really captures the essence of the work and is very approachable from a player’s and a listener’s prospective! Thanks for this great addition to the flute choir literature!!

~Sharyn Byer, April 2005

British composer, Gustav Holst (1874-1934), was well-known for his choral, band and orchestral music, but The Planets, composed between 1914-1916, established his international reputation and remains a standard in the orchestral repertoire to this day. The work is divided into seven movements, each describing the astrological and mystical qualities of a different planet.

This arrangement, containing all of the seven movements, is an abbreviated version of The Planets—the 60 minute length of the original piece has been reduced to approximately 20 minutes. All of the major themes appear in a form designed to be accessible to both small and large flute ensembles of intermediate through advanced level. Scored for four flutes with optional alto, bass and contrabass flute 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. The Planets is scored for four c-flutes, (opt. alto, bass and contrabass flute) (20:35) Level 3 to 3+

Movement 5, Saturn, the Bringer of Old Age: In measures 362 & 366 Animato sections are almost twice as fast as the preceding tempo. Accented off-beats in Flute 3 are mostly played by chimes in the orchestral version, so the accents should be played percussively for best effect.

Movement 6, Uranus, the Magician: In measure 406, the sixteenth notes in Flutes 1 & 2 should be played very percussively—in the orchestral version, these notes are played energetically by the timpani.

Simple Gifts
arranged by Phyllis Avidan Louke, pub. ALRY Publications
Listen Performance by Rose City Flute Choir

Simple Gifts is an arrangement of a well-known folk song used by a religious sect called the Shakers. This piece is comprised of a series of variations on this famous tune, starting with a “simple” setting, continuing to a variation with chromatic accompaniment, an “ethereal” variation, a march-like variation with a rousing piccolo counter melody, finishing with a beautiful chorale section.

This piece may be performed either with a Flute Quartet, or with a Flute Choir. If played with only four players, the sections marked “piccolo” in the march variation (in Flute 1 & Flute 2 parts, starting at letter D) should be played on flute, since there isn’t ample time to switch instruments. When played with a Flute Choir, the Alto Flute & Bass Flute parts enhance the harmonic structure of the piece and add depth to the arrangement. The arrangement works well with either one or both of these optional voices added. Simple Gifts is scored for four c-flutes, (opt. piccolo, alto flute and bass flute) (5:20) Level 3 to 3+ more info

Optional parts now available for FREE download: contrabass flute

Suite Butterfly for Flute Quartet or Flute Choir
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
1-Caterpillar 2-Chrysalis 3-Butterfly
Recordings by National Flute Choir on High Altitude CD

Suite Butterfly was written for and dedicated to the composer’s children, Marissa and Jeremy, and was inspired by Jeremy’s first grade science study of the butterfly’s life cycle. Each movement is represents a different stage in the life of a butterfly. Scored for 4 flutes with opt. alto & bass flutes doubling the 4th part, and opt. picc (7:00) Level 3. more info

Movement one, Caterpillar begins with a sunrise on a spring morning with the caterpillar’s efforts to hatch from its egg. It struggles, then rests, struggles, then rests. The bass flute finally heralds the success of the caterpillar’s escape with a joyful theme expressing the caterpillar’s first venturing into the outside world. The caterpillar’s joy intensifies with a lighter theme as it finds delight in its explorations, finally slowing as the time nears for the caterpillar to enter its next stage of development.

Movement two, Chrysalis begins with an ominous feel as the caterpillar begins to spin its cocoon. The mood is very dark, as it is inside a cocoon, and is reminiscent of a dreary, windy day. Throughout most of the movement there is a constant chromatic triplet pattern as the caterpillar spins its cocoon. The spinning slows and finally stops, as the chrysalis is complete.

Movement three, Butterfly is in 6/8 time and begins with the attempts of the butterfly to flutter its wings and break free of the chrysalis. The butterfly grows stronger with each attempt as it flutters its wings longer and harder. Success is finally achieved as the butterfly takes flight and soars with a theme reminiscent of Renaissance music.

Optional parts now available for FREE download: contrabass flute

Music for Flexible Flute Ensemble

Performance Suggestions for Flexible Flute Ensemble Arrangements

Design Your Own Arrangement with Repeats:

These are designed for ensembles to make their own arrangement out of the 5 parts that are included with each collection. Most of the arrangements are fairly short, so you should plan to repeat the song at least 3 times, varying the instrumentation each time. If the ensemble is large, you could start with one on a part and then start adding players and parts. When I perform these with groups, I typically start with 2 parts on the first time through, 3 parts on the second time through, and all parts on the third time through

First Time: Flute 1 (melody) and Flute 2 (harmony) OR Flute 1 (melody) and Flute 4 (bass line) OR Flute 1 (melody) and Descant (countermelody)
Second Time: Flute 1, Flute 2, and Flute 4 (bass line) OR Flute 1, Flute 2, and Descant
Third Time: All parts

Other options:

In a large group,

You can add a piccolo to the Flute 1 part
You can add a piccolo also to the Flute 2 part
You can add a piccolo to the Descant part

Medleys:

Make melodies by playing several of the pieces one after the other. With the American Patriotic Music collection, you can play the Armed Forces Songs one after the other and end with Stars and Stripes.

Be creative.

Sing Alongs:

You can also have “sing-alongs” with audiences, school groups or retirement homes with several of the collections (Christmas & Hanukah Vol. 1 & 2 and American Patriotic that include lyric sheets.

American Patriotic Music for Flexible Flute Ensemble (for 2, 3, 4 or more)
arranged by Phyllis Avidan Louke, pub. ALRY Publications
Finalist in the 2004 NFA Newly Published Music Competition

The music in American Patriotic Music for Flexible Flute Ensemble was arranged specifically to provide maximum flexibility in the number of parts required to provide a successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities (Flute Descant is included for more advanced players), as well as student ensembles, and lend themselves to “sing-alongs” with the audience. A lyric sheet, suitable for duplication, is included.

These arrangements can be performed as a
Duet—use Flute 1 (melody) & Flute 2
Trio—use Flute 1, Flute 2, & Flute 4
Quartet—use Flute 1, Flute 2, Flute 3 & Flute 4
Flute Choir—use Flute 1, 2, 3, 4, Alto Flute and/or Bass Flute
Flute Descant can be added to any of the above combinations.

The music in American Patriotic Music for Flexible Flute Ensemble is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

The Star Spangled Banner
My Country ‘Tis of Thee (America)
Battle Hymn of the Republic
America the Beautiful
Yankee Doodle
When Johnny Comes Marching Home
You’re a Grand Old Flag
I’m a Yankee Doodle Dandy
Anchors Aweigh (U.S. Navy Song)
The Marine’s Hymn (U.S. Marine Corps Song)
Off We Go, Into the Wild Blue Yonder (U.S. Air Force Song)
The Caissons Go Rolling Along (U.S. Army Song)
Stars & Stripes Forever (Official March of the United States)

Armed Forces Medley (performance suggestion):
Start with Anchors Aweigh and play to the end of the book, one after another (either with or without repeats). Stars & Stripes Forever makes a good ending for the medley.

Christmas & Hanukah Songs for Flexible Flute Ensemble (for 2, 3, 4 or more), Volume 1
arr. Phyllis Avidan Louke, pub. ALRY Publications
featured on the Woodbridge Flute Choir recording A Silver Christmas

The songs in Christmas & Hanukah Songs for Flexible Flute Ensemble, Volume 1 were arranged specifically to provide maximum flexibility in the number of parts required to provide an effective ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities (Flute Descant is included for more advanced players) and student ensembles, and lend themselves to “sing-alongs” with the audience. A lyric sheet, suitable for duplication, is included. more info

The music in Christmas & Hanukah Songs for Flexible Flute Ensemble, Volume 1 is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3

Music includes:

Oh, Come All Ye Faithful
Joy to the World
Oh Hanukah
Silent Night
I Have a Little Dreidel
Oh Little Town of Bethlehem
Hark! The Herald Angels Sing
What Child is This?
Jingle Bells
God Rest You Merry, Gentlemen
Angels We Have Heard on High
We Wish You a Merry Christmas[/one_third][two_third_last]

Christmas & Hanukah Songs for Flexible Flute Ensemble (for 2, 3, 4 or more), Volume 2
arr. Phyllis Avidan Louke, pub. ALRY Publications NEW for 2014

The songs in Christmas & Hanukah Songs for Flexible Flute Ensemble, Volume 2 were arranged specifically to provide maximum flexibility in the number of parts required to provide an effective ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities (Flute Descant is included for more advanced players) and student ensembles, and lend themselves to “sing-alongs” with the audience. A lyric sheet, suitable for duplication, is included.

The music in Christmas & Hanukah Songs for Flexible Flute Ensemble, Volume 2 is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

We Three Kings
Good King Wenceslas
Away in a Manger
Deck the Hall
The First Noel
Maoz Tsur (Rock of Ages)
Jolly Old Saint Nicholas
It Came Upon a Midnight Clear
Bring a Torch, Jeannette, Isabella
O Come, O Come, Emmanuel
Sivivon (Spin Dreidel Spin)
O Christmas Tree

Classical Music for Flexible Flute Ensemble (for 2, 3, 4 or more), Volume 1
arr. by Phyllis Avidan Louke, pub. ALRY Publications See Reviews

The music in Classical Music for Flexible Flute Ensemble, Volume 1 was arranged specifically to provide maximum flexibility in the number of parts required to provide an successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. A Flute Descant part is included for more advanced players.

The music in Classical Music for Flexible Flute Ensemble, Volume 1 is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

Sonatina by Beethoven
Theme from “Symphony No. 85” by Haydn
Bourree from “Water Music” by Handel
Menuet by Bach
Largo from the “New World Symphony” by Dvorak
Hopak by Moussorgsky
Spring from “The Four Seasons” by Vivaldi
Russian Sailor’s Dance by Gliere
Theme from “Swan Lake” by Tchaikovsky
Gavotte by Gossec
Ode to Joy from “Symphony No. 9” by Beethoven
In the Hall of the Mountain King from “Peer Gynt” by Grieg

Classical Music for Flexible Flute Ensemble (for 2, 3, 4 or more), Volume 2
arr. by Phyllis Avidan Louke, pub. ALRY Publications See Reviews

The music in Classical Music for Flexible Flute Ensemble, Volume 2 was arranged specifically to provide maximum flexibility in the number of parts required to provide an successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles.

The music in Classical Music for Flexible Flute Ensemble, Volume 2 is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

Can Can from Orpheus in the Underworld by Offenbach
Sleeping Beauty Waltz by Tchaikovsky
Triumphal march from Aida by Verdi
Saint Anthony chorale by Haydn
Melody from Surprise Symphony (Symphony No. 94) by Haydn
Morning Mood from Peer Gynt Suite No. 1 by Grieg
Trumpet Voluntary by Clarke
The Elephant from Carnival of the Animals by Saint-Saens
Hungarian Dance No. 5 by Brahms
Blue Danube Waltz by Strauss

International Music for Flexible Flute Ensemble (for 2,3,4 or more), Volume 1
arr. Phyllis Avidan Louke, pub. ALRY Publications See Reviews

The music in International Music for Flexible Flute Ensemble, Volume 1 was arranged specifically to provide maximum flexibility in the number of parts required to provide a successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. Volume 1 contains music from Asia, Australia, Caribbean, Latin America, and North America. Volume 2 contains music from France, Italy, Russia, the British Isles, and more.

The music in International Music for Flexible Flute Ensemble, Volume 1 is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

Sakura, Sakura–Japan
Airang—Korea
The Bamboo Flute—China
Waltzing Mathilda–Australia
Botany Bay—Australia
Banana Boat Song—Jamaica
Sloop John B—Bahamas
Guantanamera–Cuba
El Condor Pasa—Peru
La Cumparsita—Uruguay
Cielito Lindo—Mexico
La Bamba—Mexico
She’s Like the Swallow–Canada
Cripple Creek–United States
House of the Rising Sun–United States
Take Me Out to the Ball Game–United States

International Music for Flexible Flute Ensemble (for 2,3,4 or more), Volume 2
arr. Phyllis Avidan Louke, pub. ALRY Publications

The music in International Music for Flexible Flute Ensemble Volume 2 was arranged specifically to provide maximum flexibility in the number of parts required to provide a successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. Volume 1 contains music from Asia, Australia, Caribbean, Latin America, and North America. Volume 2 contains music from France, Italy, Russia, the British Isles, and more.

The music in International Music for Flexible Flute Ensemble, Volume 2 is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

Sur le Pont d’Avignon – France
Tarantella Napoletana – Italy
Funiculi, Funicula – Italy
Du, Du Liegst Mir Im Herzen – Germany
Finlandia – Finland
Minka, Minka – Russia
Kalinka – Russia
Song of the Volga Boatmen – Russia
All Through the Night – Wales
Morris Dance – England
Scarborough Fair – England
Country Gardens – England
Dublin Bay – Ireland
A Highland Lad, My Love Was Born – Scotland
Auld Lang Syne – Scotland

Irish Music for Flexible Flute Ensemble (for 2,3,4 or more)
arr. Phyllis Avidan Louke, pub. ALRY Publications See Reviews

The music in Irish Music for Flexible Flute Ensemble was arranged specifically to provide maximum flexibility in the number of parts required to provide a successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players.

The music in Irish Music for Flexible Flute Ensemble is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

Brian Boru’s March
Londonderry Air (Danny Boy)—air
The Irish Washerwoman—jig
The Last Rose of Summer—air
The Lark in the Morning—jig
Give Me Your Hand—air
The Rakes of Mallow—march
The Star of the County Down—waltz
The Maid Who Sold Her Barley–jig
Rosin the Bow—waltz
The Kerry Dance—march
The Minstrel Boy—air
The Wearing of the Green—march
When Irish Eyes are Smiling–waltz

Jewish Music for Flexible Flute Ensemble (for 2,3,4 or more)
arr. Phyllis Avidan Louke, pub. ALRY Publications

The music in Jewish Music for Flexible Flute Ensemble was arranged specifically to provide maximum flexibility in the number of parts required to provide a successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. In addition, chord symbols are included to provide even more performance combinations by adding guitar or piano.

The music in Jewish Music for Flexible Flute Ensemble is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

Havah Nagilah (Let’s Be Happy)–Israel Folk Dance
Hatikvah (The Hope)–Israeli National Anthem
Hinei Mah Tov (How Good It Is)–Traditional Round
Hinei Mah Tov (fast)–Traditional Chassidic Folk Tune
David Melech Yisrael (David, King of Israel)–Traditional Folk Tune
Tum, Balalaika (Play Balalaika)–Yiddish Folk Song
Heveinu Shalom Alechem (We Bring You Peace)–Traditional Hebrew Greeting Song
Zum Galli Galli (We Are Proud to Be Pioneers)–Israeli Song
Ayn Kaylohaynu (There is None Like Our G-d)–Traditional from Hebrew Liturgy
Siman Tov Umazel Tov–(Good sign and good luck)–Traditional Song of Congratulations
Lo Yisa Goi (Nation Shall Not Lift Up Sword Against Nation)–Traditional Folk Tune
Chag Purim (Purim time)–Traditional Folk Song for the Festival of Purim
Eliyahu Hanavi (Elijah the Prophet)–Traditional Folk Song for the Holiday of Passover
Dayeinu (It would be enough)–Traditional Folk Song for the Holiday of Passover
Avinu Malkeinu (Our Father, Our King)–Traditional Chassidic Melody for the Sacred Holiday of Yom Kippur (The Day of Antonement)

Sacred Music – Hymns for Flexible Flute Ensemble (for 2, 3, 4 or more)
arranged by Phyllis Avidan Louke, pub. ALRY Publications
Honorable Mention in the 2008 NFA Newly Published Music Competition

The music in Sacred Music – Hymns for Flexible Flute Ensemble was arranged specifically to provide maximum flexibility in the number of parts required to provide a successful ensemble experience and an effective performance. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. A song sheet with two verses of each hymn is included. For additional verses, click here.

The music in Sacred Music – Hymns for Flexible Flute Ensemble is effective with multiple players on each part, as well as with only one on each part. With larger groups, a piccolo may be added to Flute 1 and/or Flute Descant, if desired. These arrangements work well for ensembles of mixed abilities, as well as student ensembles. Flute Descant is included for more advanced players. More advanced groups can perform these pieces successfully with minimal rehearsal time. Each piece approximately 1:30. Level 2 to 3 more info

Music includes:

All Hail the Power of Jesus’ Name (Hymn Tune: Coronation)
As With Gladness Men of Old (Hymn Tune: Dix)
Christ for the World We Sing (Hymn Tune: Moscow)
The Church’s One Foundation (Hymn Tune: Aurelia)
Faith of Our Fathers (Hymn Tune: St. Catherine)
Glorious Things if Thee Are Spoken (Hymn Tune: Austria)
I Sing a Song of the Saints of God (Hymn Tune: Grand Isle)
In the Garden (Hymn Tune: In the Garden)
Lead On, O King Eternal (Hymn Tune: Lancashire)
Let All Things Now Living (Hymn Tune: Ash Grove)
Love Divine, All Loves Excelling (Hymn Tune: Hyfrydol)
A Mighty Fortress by Martin Luther (Hymn Tune: Ein feste Burg)
O God Our Help in Ages Past (Hymn Tune: St. Anne)
Rejoice Ye Pure in Heart (Hymn Tune: Marion)
There is a Green Hill Far Away (Hymn Tune: Horsley)
When Morning Gilds the Skies (Hymn Tune: Laudes Domini)
Ye Watcher and Ye Holy Ones (Hymn Tune: Lasst uns erfreuen)

Music for Flute Choir

A Journey with Love
by Phyllis Avidan Louke, pub. ALRY
mp3

This piece was commissioned by the Raleigh Flute Choir and the Raleigh Area Flute Association in memory of Kim Kittner, a longtime member of the Raleigh Flute Choir. Active in the Raleigh flute community, Kim’s love of music, particularly playing the alto flute, her positive attitude, and life of public service is brought out in the joyful, opening of A Journey with Love. The alto flute is prominent in this piece with several tutti and solo passages. Written in two sections, the first section is joyful yet, at times, introspective. The introspective interlude uses the same chord progression as Bob Dylan’s Blowing in the Wind.

Kim also embodied the spirit of volunteerism: from volunteering at flute events to playing flute at her synagogue’s services on Yom Kippur (The Day of Atonement), one of the Jewish calendar’s holiest days. A traditional part of the service is the Chassidic hymn Avinu Malkeinu (Our Father, Our King); the beautiful and introspective melody is almost hypnotic as the congregation sings. After transitioning from the upbeat first section, this melody becomes the cornerstone of the second section of the piece, and ends quietly with the solo alto flute.

Scored for piccolo, 3 c-flutes, alto flute, bass flute, and optional contrabass flute; Performance Time: 7:20; Level 3-4

A New Beginning
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Honorable Mention in the 2010 NFA Newly Published Music Competition
Listen Rose City Flute Choir Performance

A New Beginning was commissioned by The Hampton Roads Flute Choir to commemorate the 400^th anniversary of the founding of Jamestown, Virginia. This programmatic piece is written in one movement and is comprised of several continuous sections descriptive of aspects of the history of Jamestown. Scored for piccolo, 3 flutes, alto flute, bass flute, and optional contrabass flute. (5:30) Level 3

Arrival in a new land celebrates the exhilaration and wonder the settlers must have felt at finally arriving in the New World in 1607 after their long journey at sea. Building a community conveys industriousness as the settlers build the first permanent English settlement in the New World and settle into day to day life. The section is based on an eight bar melody from a folk song from the late 1600’s called The Bold Pedlar and Robin Hood. Troubled times: By mid 1607, the settlers were experiencing troubled times–disease was rampant and John Smith was captured by Indians. Pocahantas helps the settlers describes the saving of John Smith and a new spirit of cooperation between the Indians and the settlers beginning in 1608. A new season of hope: Although Jamestown would suffer many setbacks before its eventual success was assured, cordial relations with the Indians gave the settlers hope. more info

Optional part now available for FREE download: Flute 4

A Song of Winter—Snowmen & Icicles
by Phyllis Avidan Louke, pub. Sheet Music Plus (digital download)
[button link=”https://www.youtube.com/watch?v=rDGbMJkqw4w#t=21″ newwindow=”yes”] Video[/button] Performance by Rose City Flute Choir

This piece is evocative of a cold and windy day in winter. A Song of Winter explores the contrasts between the smoothness and roundness of a snowman and the hardness and jaggedness of icicles. Beginning with a winter storm with wind and swirling snow, the wind calms and the building of a snowman begins with the rolling of a snowball. The rolling progresses to form the biggest ball of the snowman (represented by the bass and alto flutes), which is briefly interrupted by a playful snowball fight. The flutes continue the melody for the rolling of the second ball of the snowman, followed by the piccolo representing the rolling of the smallest ball (the head of the snowman). The melody is smooth and round in a lilting ¾ time. When the snowman is complete, the wind and swirling snow return to lead into the Icicles section. The jaggedness of the icicles is represented by the jaggedness of syncopation in a marcato style with the melody skipping larger intervals than the Snowmen melody. Even visually, the score shows the jagged shape of the icicles. Double-tongued ascending and descending lines, add to hard and brittle feeling of the icicles, as well as to the shape. The piccolo adds the glistening, shimmering effect the icicles have when the sunlight reflects off them. A final windy storm follows, which calms at the end of the piece. Scored for piccolo, 3 flutes, alto flute (C-part included) and bass flute. (6:45) Level 3+ more info

As Eagles Flew
by Phyllis Avidan Louke, pub. ALRY Publications
Listen Performance by Rose City Flute Choir

As Eagles Flew is a programmatic piece written in memory of my friend, Bob Clew who passed away in the Fall of 2004. This piece seeks to capture Bob’s life as an aerospace engineer, his kind and gentle side (and his impish side), as well as his Irish heritage. Bob loved a good joke and to share limericks with his fellow travelers in the American Flute Orchestra. His smiling face and good humor will be greatly missed.

As Eagles Flew begins with a soaring andante theme in D major that culminates with a rocket launch, followed by a slow Irish theme in D minor. The center section is a military style march in 6/8 time alternated with the Irish theme played in a jaunty style by the piccolo. Brief fragments of the opening appear in the fast section until the peaceful reprise of the andante theme at the end. As Eagles Flew is scored for piccolo, 3 flutes, alto flute, bass flute and optional contrabass flute or string bass. (8:30) Level 3 more info

Beach Party!
by Phyllis Avidan Louke, pub. ALRY Publications
Honorable Mention in the 2017 NFA Newly Published Music Competition
mp3

Beach Party! was commissioned by Peter Sheridan for the premiere by the Pacific Coast Flute Orchestra in the opening concert of the August 2016 National Flute Association Convention in San Diego. An ode to my Southern California roots with many hours spent at the beach, Beach Party! is a fun, celebratory romp through the anticipation and the excitement of a beach party. The ethereal opening of the piece with lush chords anticipates the fun yet to come. After the opening, the style is rhythmic with a rock beat and a Beach Boys’ feel. The rhythm of the words “beach par-ty” (quarter-note and two eighth-notes) is a motive that appears in the main melody and throughout the piece. Each of the parts get a turn at the melody and there are several sections prominently featuring the low flutes.

Beach Party! is scored for piccolo, 4 flutes, alto flute, bass flute and contrabass flute (or Bass Flute 2). Level 3+ (4:00) more info

Canyon Dreams
by Phyllis Avidan Louke, pub. ALRY Publications
Listen Performance by Professional Flute Choir 2015

Canyon Dreams was commissioned by the Arizona Flute Society in 2012 and premiered by the Alla Breve Flute Choir on November 4,

2012 in Phoenix. The inspiration for this piece came from a river rafting trip on the Colorado River through the Grand Canyon. For six days, we traveled down the Colorado River, reveling in the spectacular scenery and peacefulness in the calm sections of the river, and held on for dear life during the roller coaster-like rapids. For five nights, we camped on the river’s beaches, sleeping in cots with the canyon walls as our headboard and the Colorado River at our feet.

Written in two sections, the piece opens with a dreamy melody in open fifths, followed by a serene melody that begins with a duet between flute 1 and bass flute. The second section is quite energetic in 7/8 time with 3/4 time interspersed.

Canyon Dreams is scored for piccolo, 3 flutes, alto (alternate c-part included), bass, and opt. contrabass flute. (5:00) Level 3+ more info

Cloud Images
by Phyllis Avidan Louke, pub. Sheet Music Plus (avail. as digital download)

Cloud Images is a programmatic work in five movements for Flute Choir dedicated to Albert Weatherly of Sankyo Flutes, USA. The inspiration for this piece came from the beauty of the cloud formations observed during a plane flight. Scored for piccolo, 3 flutes, alto flute (C-part included) and bass flute. (12:00) Level 3 more info

Movement 1, “Rising Above the Clouds”, features a soaring melody played first by the bass and alto flute. The piccolo adds a countermelody which contributes to the feeling of being above the clouds.

Movement 2, “Billowing Clouds”, features the alto flute in a cadenza with an Irish flavor. The alto flute is then joined by the bass flute in a duet, and eventually by the other flutes. A melody in 7/8 time is then alternated 6/8 to convey the shape and roundness of clouds.

[two_third]Movement 3, “Oh Look! There’s an Alligator!”, is a whimsical look at the different shapes that can be found in clouds. A running bass line in the bass flute supports a jaunty melody which seems to be “on the prowl” to find various shapes in the clouds. Several different animal shapes are “seen”: a hippo, an elephant, and finally, an alligator. Vocals can also be utilized in this movement to better communicate the whimsy of these animal shapes to the audience.

Movement 4, “With Your Head in the Clouds”, is in a light-hearted “soft shoe” style. The melodies describe the feeling of skipping through life, not having a care in the world. For a “Lawrence Welk” ending, one of the players with rests can blow bubbles during the last measure.

Movement 5, “Through a Sea of Clouds”, has a dream-like quality imagining what it would be like to travel through a sea of clouds and touch their wispy softness. The bass flute is prominently featured, and then joined by the alto flute. The piccolo adds the “frosting” on top.

Cloud Images - Rising Above t

Cloud Images - Billowing Clou

Cloud Images - Oh Look Theres

Cloud Images - With Your Head

Cloud Images - Through a Sea

Echoes in the Wind—A Native American Soliloquy
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Listen Recording by National Flute Choir on Silver CD)

Originally commissioned for Alto Flute & Piano by Sue Blessing, Echoes in the Wind—A Native American Soliloquy is meant to evoke the image of a Native American flutist playing from a mountaintop to the valley below. At the suggestion of Patricia George, Echoes in the Wind was adapted for flute choir. The haunting quality of the flutes conveys the elusiveness of the wind, as it ebbs and flows through this piece. All grace notes should be slurred to the note following the grace note. All grace notes should be slurred to the note following the grace note. The music is equally effective when substituting c-flutes for alto (Part 5) & bass flute (Part 6) parts. Scored for piccolo, 3 flutes, alto & bass. Concert flutes can be substituted for alto (C flute part included) and bass flute (7:00) Level 3 more info

This piece can be performed antiphonally, with players placed as follows:
Piccolo        Flute 1              Flute 2 (across the front of the stage)
Drum                 (in center of room in center aisle)
Flute 3          Bass Flute        Alto Flute (across the back of the room)

Depending on the size of the ensemble, the players in the front can set up in an arch, so that the players on either end extend down the sides of the audience toward the back of the room, and the players in the back can set up so that the players on the ends extend up the sides of the audience toward the front. This type of set up will accentuate the echoes in the music and provide an antiphonal experience for the audience.

For a more traditional on-stage performance, players can be placed as follows:
Front Row: Flute 3, Bass Flute, Alto Flute
Back Row: Piccolo, Flute 1, Flute 2
Drum can either be placed behind the back row or on one of the sides.

Optional parts now available for FREE download: contrabass flute

Fanfare and Celebration
by Phyllis Avidan Louke, pub. ALRY Publications NEW for 2014
Listen Performance by Rose City Flute Choir 2014

[two_third]Fanfare and Celebration was commissioned by Quad Cities Flutes Unlimited in honor of their 30th anniversary and premiered by the group on April 19, 2013 in Davenport, Iowa. Written in two sections, the piece opens with an energetic Fanfare in F Major, followed by a toe-tapping tune that exudes happiness in Ab Major in Celebration. Alto, Bass, and Contrabass provide a driving rhythm that propels the melody forward before taking over the melody in the lyrical section. Scored for piccolo, 3 flutes, alto (alternate c-part included), bass, and opt. contrabass flute. (3:30) Level 3+ more info

Fantasy on Amazing Grace
by Johnnie Carl, arr. Phyllis Avidan Louke, pub. ALRY Publications
mp3

This arrangement of Fantasy on Amazing Grace by Johnnie Carl was commissioned by Rhondda Dayton and Pipe Dream Flutes and premiered by the group at the National Flute Association Convention in New Orleans in 2013. Dedicated to Carl’s wife, Linda, this piece was originally written for the Hour of Power Orchestra at Robert Schuller’s Crystal Cathedral in Southern California. Johnnie Carl served as the Music Director, Conductor, and Arranger for 29 years.

The piece opens with the melody played by a solo bass flute, and progresses from a simple, yet beautiful, setting of the melody in Bb Major to a more lush treatment through several key changes. The melody continues with countermelodies and a running sixteenth note accompaniment alternating in the bass and alto, before coming to a quiet close in G Major with an alto flute solo.

Scored for 3 flutes, alto flute, bass flute, and contrabass flute. If without a contra, the contrabass part can be played by Bass Flute 2. Level 3+ (3:30) more info

Flute Fiesta
by Phyllis Avidan Louke, pub. ALRY Publications
Video Performance by Korean Flute Soloists

Flute Fiesta, an original composition for flute choir, was premiered by Gwen Powell and the Fiesta Flute Orchestra at the NFA Convention in Albuquerque, New Mexico in August 2007. Written in the style of a Spanish March or pasodoble, Flute Fiesta is based on the type of music played at Spanish bullfights. Flute Fiesta’s Spanish flair makes it well-suited as an opening or closing piece for programs. The bravura piccolo part provides florid countermelody and embellishment in several sections of the piece. An optional percussion part featuring castanet and triangle is included to add even more Spanish flair. Scored for piccolo, 3 flutes, alto flute (alternate c-flute part is included), bass flute, optional contrabass flute and percussion (castanets and triangle). (4:00) Level 3 more info

Four Renaissance Motets by Tomás Luis de Victoria
arr. Phyllis Avidan Louke, pub. Falls House Press
   O Magnum Mysterium (O Great Mystery)
   O Quam Gloriosum (O How Glorious)
   O Vos Omnes (O All Ye That Pass)
   Ave Maria (Hail Mary)

These four motets were adapted from choral music written by Spanish Renaissance composer, Tomás Luis de Victoria. He wrote exclusively Latin sacred music. O Magnum Mysterium is perhaps the most moving sacred setting ever written during the Renaissance. Composed in the phrygian mode, this motet evokes the ancient spectacle of high services in the great stone churches of the Old World. The opening chord progression of O Quam Gloriosum, a motet for All Saints Day, depicts the mystery of transfiguration into the afterlife. After many phrases depicting death, the music leads us to a comforting close as the dead are lead to their eternal home. O Vos Omnes, a motet traditionally performed during Holy Week, is seen as one of the best, combining a perfect polyphonic technique with a highly expressive interpretation of the words. Ave Maria is the composer’s best known work. Scored for 3 flutes and alto flute (C-flute part included), with optional piccolo and bass flute (8:30) Level 3 more info

1-O Magnum Mysterium

4-Ave Maria

Four Spirituals for Flute Choir
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Honorable Mention in the 2012 NFA Newly Published Music Competition

Four Spirituals for Flute Choir was commissioned by anonymous donors and dedicated to Francine Ross Pancost, Flute Choir Director. Sometimes referred to as Negro spirituals and dating back to the days of slavery, there are three basic categories of spirituals: Call and response, slow and melodic with expressive phrasing, and fast and rhythmic, often with syncopated rhythms. Songs were part of slaves’ daily lives and were sometimes used as a means of communicating secret messages about the Underground Railroad, rather than just for worship. Scored for piccolo, 3 flutes, alto, bass, and opt. contrabass flute. (12:00) Level 2 to 3+ more info

Sometimes I Feel Like a Motherless Child is slow and melodic, opening with a poignant alto flute solo, later joined by the bass flute in a duet. The piccolo provides a mournful line of counter melody in many of the tutti passages. In the era of slavery, it was common practice to sell children of slaves away from their parents. The song expresses the pain and despair of a child separated from his parents.
Elijah Rock is fast and rhythmic with the low flutes providing a syncopated melodic ostinato. There is some call and response between the low flutes and c-flutes, and the piccolo provides a counter melody with a gospel flavor.
Wade in the Water is also fast and rhythmic with a call and response section. The song urges runaway slaves to travel along the river bank and through the water to avoid detection by pursuing bloodhounds and the authorities.
Every Time I Feel the Spirit is fast and rhythmic with syncopated rhythms and a gospel flair.

1-Motherless Child

2-Elijah Rock

3-Wade in the Water

4-Every Time I Feel That Spirit

Hanukah Suite for Flute Quartet or Flute Choir
arr. Phyllis Avidan Louke, pub. ALRY Publications

Optional parts now available for FREE download: contrabass flute

1-Maoz Tsur

2-Hanukah

Hopak by Modest Moussorgky
arr. by Phyllis Avidan Louke, pub. ALRY Publications
[button link=”https://www.phyllislouke.com/wp-content/uploads/2015/08/Hopak.mp3″ newwindow=”yes”] Listen[/button] Performance by Rose City Flute Choir

Transcribed from a piano piece by Moussorgsky, this lively Russian folk song works exceptionally well for flute choir and gives each group of instruments a chance to play the melody. This piece makes a good program opener. Scored for piccolo, 3 flutes, alto flute (C flute part included) and bass flute. Optional part for contrabass flute is included. (2:00) Level 3 more info

Optional parts now available for FREE download: contra string bass bass clarinet

I’ll Love My Love by Gustav Holst
arr. by Phyllis Avidan Louke, pub. Nourse Wind Publications
Honorable Mention in the 1997 NFA Newly Published Music Competition
video Performance by Suite 212

I’ll Love My Love is a Cornish folk song that was used by Gustav Holst in two different settings: a choral arrangement, and the second movement (Song Without Words) from his well-known Second Suite for Band in F Major. This arrangement contains segments that are loosely based on both settings with additional original segments by the arranger. The alto and bass flutes are featured in a duet that is followed by duets of pairs of instruments in the flute choir. The piccolo plays a prominent soloistic role in this arrangement. Scored for piccolo, 3 flutes, alto & bass (6:00) Level 3

Jesu Joy!
by Colleen Adent, arr. Phyllis Avidan Louke, pub. ALRY Publications
Listen

Jesu Joy!, a delightful arrangement of the well-known Jesu, Joy of Man’s Desiring by J.S. Bach was originally composed by Colleen Adent for piano. Clever use of syncopation in common time, instead of the original eighth notes in 9/8 written by Bach, as well as interesting chord substitutions, make this composition delightful from start to finish. I first heard this piece in 2011 played by the composer, and immediately fell in love with it. Thinking that it would be a nice addition to the flute choir repertoire, I obtained permission to arrange it. Jesu Joy! is scored for piccolo, 3 flutes, alto, bass, and opt. contrabass flute. Scored for piccolo, 3 flutes, alto flute, bass flute, and contrabass flute. If without a contra, the contrabass part can be played by Bass Flute 2. Level 3+ (3:00) more info

Jewish Folk Dance Suite
arr. by Phyllis Avidan Louke, pub. ALRY Publications
1-Mayim Mayim 2-Hinei Mah Tov 3-Havah Nagilah
Performances by Silver Fantasy Flute Choir

Jewish Folk Dance Suite, is a collection of three Jewish folk songs scored for piccolo, 3 flutes, alto (C flute part included) & bass (6:30) Level 3 to 3+ more info

Mayim, Mayim (“Water, Water”) This uptempo Jewish folk song (& folk dance) will make you want to get up and dance. In ancient Israel, farmers sang this song when they prayed for rain. This arrangement has some interesting counter melodies in piccolo, alto and bass.

Hinei Mah Tov (“How Good It Is”) A lovely folk song in 6/8 conducted in a slow 2, this movement has an interesting moving line in the bass flute and a charming sixteenth note countermelody in the piccolo. The translations of the lyrics of this song are “How good it is and how pleasant when brothers and sisters live together”.

Havah Nagilah (“Let’s Be Happy”) A Jewish folk song and dance that is played at joyous occasions such as Jewish weddings, bar or bat mitzvahs (a Jewish boy or girl’s coming of age ceremony). The guests at these celebrations dance the “hora” to this song. The hora is a circle dance that usually starts out fairly slow, gradually getting faster and faster with each repeat until it ends (usually when the dancers are too tired to go any faster!) This arrangement evokes the mood of a celebration and begins almost ponderously with the bass flute and alto flute duet. Each repeat of the melody adds more instruments as the song gets faster and faster, finally climaxing with an exciting piccolo embellishment of the melody.

My Secret Garden
by Phyllis Avidan Louke, pub. ALRY Publications
Honorable Mention in the 2017 NFA Newly Published Music Competition
mp3

As an avid gardener, I have always wanted to write a piece that reminded me of my garden. Whether I am pruning or planting or pulling weeds, gardening is a meditative experience for me. I love the quiet, the solitude, the time to think, and sometimes the opportunity to work out a compositional idea. I enjoy the beauty of the flowers and strolling around the yard to see which plants are blooming on a particular day. The garden is constantly changing through the days, through the seasons, through the years. This piece is not necessarily about my particular garden or a specific idea, it is about whatever story the listener hears in the piece.

My Secret Garden is written in two sections. The first section in 3/4 time in C Major, is an unhurried stroll through a garden where one can be alone with their thoughts. Taking time to smell the flowers, sit on a bench under a tree for a while and just think. The second section in 6/8 time in G Major is more energetic as the beauty of the garden inspires happy thoughts.

Scored for piccolo, 3 flutes, alto flute, bass flute, and contrabass flute. If without a contra, use the contrabass part as Bass Flute 2. Level 3+ (5:30) more info

O Come All Ye Faithful
arr. by Phyllis Avidan Louke, pub. ALRY Publications
Listen Recording by National Flute Choir on the CD Christmas Flutes

O Come All Ye Faithful begins with a duet of alto flute and bass flute, gradually adding instruments until all parts except the piccolo are playing. At letter C, the c-flutes repeat the melody with a jubilant piccolo countermelody, followed by the full flute choir accompanying the alto flute and bass flute melody at letter E. The final section at letter G, augments and broadens the melody in the full flute choir with the piccolo shimmering above with a moving countermelody, mostly in triplets. Scored for piccolo, three c-flutes, alto flute (C flute part included) and bass flute. (3:30) Level 2 more info

Of Wizards and Witches
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
WINNER in the 2006 NFA Newly Published Music Competition

Of Wizards & Witches, an original composition in three movements, was inspired by characters in the Harry Potter books. This piece was premiered in August 2004 by the Professional Flute Choir at the National Flute Association Convention in Nashville, Tennessee and is dedicated to them. Scored for piccolo, 3 flutes, alto & bass. (8:00) Level 3+ more info

Movement 1, The Sorcerer’s Spell, evokes an incantation–things begin to happen as the spell takes hold. Movement 2, Gnomes in the Garden, describes the mischievous gnomes as they scamper through the garden. Movement 3, Zoom Goes the Broom, follows the wizards and witches as they climb on their brooms and go on a wild ride.

Optional parts now available for FREE download: contrabass flute Flute 4 (alt. c-part for alto)

1-The Sorcerer’s Spell

2-Gnomes in the Garden

3-Zoom Goes the Broom

Oh, the Places We’ll See!
by Phyllis Avidan Louke, pub. ALRY Publications

Oh, the Places We’ll See! is dedicated to The Metropolitan Flute Festival Orchestra of the New England Conservatory (Boston) and The Florida Flute Orchestra, Paige Long, Director; and Flutes Ad Libitum (Dijon, France), Martine Charlot, Director. These groups together performed the World Premiere at the National Flute Association Convention in New York City in August 2009. This piece commemorates concert tours of the Metropolitan Flute Orchestra to France and Ireland, as well as pays homage to its roots in Boston. This three movement work contains both public domain and original melodies. Scored for piccolo, 3 flutes, alto flute (alternate c-flute part is included), bass flute, and optional contra. (13:30) Level 3 to 3+ more info

Movement 1, Vive la France!, is a medley of folk and public domain melodies, including Au Clair de la Lune (In the Moonlight), Sur le Pont d’Avignon (On the Avignon Bridge), Fascination by Marchetti (the ultimate in French café songs), and the Can Can from Orpheus in the Underworld by Offenbach. This movement is a tribute to France, one of my favorite travel destinations. In 1997, I stood on the bridge in Avignon, fondly remembering my first public performance as a beginning flute student, playing a simple duet arrangement of Sur le Pont d’Avignon at our school’s Parent Night. I’ve loved the song ever since. In 2002 and 2005, I performed in several venues in Provence and Dijon with flute orchestras conducted by Paige Long. In Dijon, we spent several days at the Conservatoire and were hosted by Martine Charlot and members of Ad Libitum. (5:30)

Movement 2, The Emerald Isle, is a medley of folk and original melodies including Dance of the Leprecauns and Connemara Jig by Phyllis Avidan Louke; and Boatman of Kinsale and The Humours of Bantry by F. O’Neill. These tunes celebrate the places where The Metropolitan Flute Festival Orchestra performed in Ireland: Bantry, Connemara and Kinsale. I performed with the group on their concert tour in 2008 and thoroughly enjoyed the quaint towns of Bantry and Kinsale (both in County Cork) and the beauty of the countryside and Kylemore Abbey in Connemara (in County Galway). (5:00)

Movement 3, A Dandy Yankee Doodle, is a theme and variation on Yankee Doodle paying homage to the home of The Metropolitan Flute Festival Orchestra at the New England Conservatory in Boston. The piccolo figures prominently in the “fife and drum” opening and the “Stars & Stripes Forever” ending. (3:00)

1-Vive La France!

2-The Emerald Isle

3-A Dandy Yankee Doodle

Pandas in the Bamboo Forest for Flute Choir
by Phyllis Avidan Louke, pub. ALRY Publications
Honorable Mention in the 2018 NFA Newly Published Music Competition

Pandas in the Bamboo Forest was commissioned by Linda Mintener and the Madison Flute Choir and premiered in 2017. It is written antiphonally; the performers should be spread around the front, sides, and back of the performance hall to take full advantage of the antiphonal structure of the music. Written in two sections marked Andante and Allegretto, each section uses a slightly different form of the pentatonic scale. The melody of the Allegretto section is based on a Shanghai Opera Melody called Purple Bamboo Melody. more info

Instrumentation: piccolo, 3 flutes, alto flute (or flute 4), bass flute, and contrabass flute (or bass flute 2)

Level 3 (5:00)

The Planets by Gustav Holst
arranged by Phyllis Avidan Louke, pub. Falls House Press See Reviews
Mars Venus, Mercury, Jupiter Performances by Fremont Flute Ensemble

Columbia Flute Choir read through The Planets last night. We loved it! It really captures the essence of the work and is very approachable from a player’s and a listener’s prospective! Thanks for this great addition to the flute choir literature!!

~Sharyn Byer, April 2005

Postcards from Pikes Peak
by Phyllis Avidan Louke, pub. ALRY Publications
mp3 (Garden of the Gods) mp3 (Salute!) mp3 (Ski!)

Postcards from Pikes Peak was commissioned by the Pikes Peak Flute Choir and Conductor Treese Kjeldsen, in honor of Director Emeritus Karen Morsch. Written in three movements, Postcards from Pikes Peak celebrates the area around Colorado Springs, Colorado, from majestic mountains, many over 14,000 feet above sea level, to the economic importance of the military to the region, and nearby world class ski slopes.

Garden of the Gods is a National Historic Landmark is owned by the City of Colorado Springs which features unique red, pink, and white sandstone rock formations, grasslands of the Great Plains, woodlands, and mountain forests of the 14,115-foot Pikes Peak. Many native peoples such as Ute, Comanche, Apache, Kiowa, Shoshone, Cheyenne, Pawnee and Lakota, have found a spiritual connection in the red rocks. The first movement, Garden of the Gods, celebrates this connection with a plaintive Native American flute duet in the pentatonic minor scale (which may be performed on c-flutes), followed by a melody marked misterioso written in the blues scale. As the melody progresses, there is an interjection of the song America the Beautiful, which was written from the top of Pikes Peak. The movement closes with an embellished reprise of the blues scale melody.

Salute! – Colorado Springs is home to the United States Air Force Academy, NORAD/Northcom, Air Force Space Command and Fort Carson. The Aerospace and Defense industry is of great economic importance to the area. This movement, Salute!, is a march written as a tribute to the military.

Ski! – Colorado Springs is near many world class ski slopes. The third movement, Ski!, celebrates the excitement of the slopes with a downhill run.

Postcards from Pikes Peak is scored for piccolo, 3 flutes, alto flute, bass flute, and contrabass flute. If without a contra, use the contrabass part as Bass Flute 2. Level 3+ (9:20) more info

Ringing in Christmas
arranged by Phyllis Avidan Louke, pub. ALRY Publications
Video Performance by Rose City Flute Choir

Ringing in Christmas is a medley of Christmas songs about bells and includes the following: Ding Dong Merrily on High, I Heard the Bells on Christmas Day, Carol of the Bells, and Jingle Bells. These four Christmas favorites are united together with a bell-like interlude. In this arrangement, all the parts have a turn at playing the melody. Scored for piccolo, 3 flutes, alto flute (an alternate c-flute part is also included), bass flute. An optional contrabass flute part is available as a free download (5:30) Level 3 more info

Optional parts now available for FREE download: contrabass flute

Reinhold Moritsevich Gliere was a prominent Soviet composer who was best known for compositions inspired by folk music of Russia and its republics. Prokofiev and Khachaturian were his students. Originally written for orchestra, Russian Sailors Dance is from Gliere’s ballet “The Red Poppy.” Scored for piccolo, 3 flutes, alto flute and bass flute. (3:30) Level 3 more info

Shadowlands—A Journey
by Phyllis Avidan Louke, pub. Sheet Music Plus (avail. as digital download) See Reviews

Shadowlands is a programmatic work in three movements for Flute Choir written in memory of the composer’s uncle who died from cancer. Out of the Darkness features a plaintive melody conveying sadness which later transforms to hope. Into the Shadows begins with a beautiful bass and alto flute duet written in quartal harmony. The melody is introspective, yet, in conjunction with syncopated chords in 4ths, keeps moving the listener forward toward a climax of resignation. Moving Toward the Light conveys a feeling of hope and peace, ending with a touching chorale. Scored for 3 flutes, alto (C-part included) and bass flute. Flute 1 doubles on piccolo. (7:30) Level 3 more info

1-Out of the Darkness

2-Into the Shadows

3-Moving Toward the Light

Shenandoah
arranged by Phyllis Avidan Louke, pub. Sheet Music Plus (avail. as digital download)
Video Performance by Williamsport Flute Choir

One of America’s best loved songs began as a sea shanty. The Shenandoah spoken of in the song is not about a place, but is about an Indian chief living along the Missouri River. This arrangement opens with a haunting Flute 1 and Alto Flute duet. The instruments are featured in various combinations throughout the piece to explore the different of colors produced by the flute choir. The harmonies and rhythms are altered during various sections–most notably a duet between the Bass Flute and Alto Flute. All instruments have a turn at the melody at some point in this arrangement. Scored for piccolo, 3 flutes, alto (C-part included) and bass flute. (5:30) Level 3 more info

Simple Gifts
arranged by Phyllis Avidan Louke, pub. ALRY Publications
Listen Performance by Rose City Flute Choir

Simple Gifts is an arrangement of a well-known folk song used by a religious sect called the Shakers. This piece is comprised of a series of variations on this famous tune, starting with a “simple” setting, continuing to a variation with chromatic accompaniment, an “ethereal” variation, a march-like variation with a rousing piccolo counter melody, finishing with a beautiful chorale section.

Optional parts now available for FREE download: contrabass flute

Suite Butterfly for Flute Quartet or Flute Choir
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
1-Caterpillar 2-Chrysalis 3-Butterfly
Recordings by National Flute Choir on High Altitude CD

Optional parts now available for FREE download: contrabass flute

Temple of Heaven
by Phyllis Avidan Louke, pub. ALRY Publications

Temple of Heaven is a programmatic work in four movements for flute choir commissioned by Mary Sand and The Loomis Chaffee Flutes in 2006. The piece is written using various forms of the pentatonic scale and its modes and is descriptive of a series of four temples built in Beijing: the Temple of Heaven in the south, the Temple of Earth in the north, the Temple of the Sun in the east and the Temple of the Moon in the west. The Temple of Heaven, completed in 1420, is the most important and largest. Chinese emperors, also known as “son of heaven”, felt that the dwelling for heaven should be grander than their own dwelling in the Forbidden City. Color plays an important part in Chinese culture and accordingly, the Temple of Heaven is tiled in blue, a sacred color symbolizing heaven, while the Temple of Earth is tiled in yellow, the Temple of the Sun is tiled in red, and the Temple of the Moon is tiled in white.

Movement 1, Temple of the Sun, begins with a calm and quiet sunrise with chirping birds, transitioning into an exciting Allegro con brio. Movement 2, Temple of the Moon, is lush and tranquil with a beautiful duet between the 1st flute and bass flute. This section segues into an emphatic Shanghai Opera theme called Red, Red Moon. Movement 3, Temple of Earth, subtitled By a Cool Mountain Stream, depicts the freedom of flow as a mountain stream tumbles over the rocks. During this movement, it is recommended that the piccolo player move quietly to the back of the performance hall behind the audience and face the stage for the antiphonal piccolo duet at the beginning of the 4th movement. The piccolo part is cued in Flute 1 and should be played by one player in marked sections (+picc) only. Movement 4, Temple of Heaven, begins with a tam-tam (gong) that should be allowed to finish ringing before two piccolos begin an antiphonal duet that symbolizes a call from heaven. The second piccolo part is written into the Flute 1 part. For best effect, this duet should not be conducted. At letter A, the journey to heaven begins, ending with repeat of the opening duet, this time played by alto flute and bass flute. At letter E, the joyful theme in 6/8 time signifies the arrival in heaven. Scored for piccolo, 3 flutes, alto flute (alternate c-flute part included), bass flute, and opt. tam-tam (another term for gong). (11:30) Level 3 more info

Optional parts now available for FREE download: contrabass flute

1-Temple of the Sun

2-Temple of the Moon

3-Temple of Earth

4-Temple of Heaven

There Is No Rose by Z. Randall Stroope
arr. by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Listen Recording by National Flute Choir on the CD Breathless

There Is No Rose was arranged for flute choir from Z. Randall Stroope’s original choral piece for SSA, piano and oboe. In this arrangement, the hauntingly beautiful line originally written for oboe is scored for piccolo. Tempo changes and occasional cessuras accentuate the change of mood in this piece. The use of contrabass flute or string bass, although not essential, adds much to the depth of this arrangement. This arrangement is dedicated to Rose City Flute Choir, and was premiered by this ensemble in April 2004.

The original choral piece was written as a gift to the well known treble choir Bel Canto by its conductor, Z. Randall Stroope, using a 15th century anonymous text that beautifies the personage of the Virgin Mary. Scored for piccolo, 4 flutes, alto (C flute part included) & bass, and optional contrabass flute and string bass. (6:00) Level 3 more info

Under the Big Top
by Phyllis Avidan Louke, pub. ALRY Publications See Reviews
Finalist in the 2000 Hoff-Barthelson Music School Flute Choir Music Competition

Under the Big Top is an original programmatic work in three movements for Flute Choir. Movement One, At the Circus, conveys the excitement of being at the circus—the procession of the performers, the elephants lumbering into the ring, the concessionaires selling peanuts, popcorn & Cracker Jacks, the Ringmaster welcoming the audience to the show, and the entrance of the juggling clowns. Movement Two, On the Flying Trapeze, depicts the swaying of the trapeze and the daring acrobatics performed high in the air by the trapeze artists. Movement Three, Clowning Around, is descriptive of the amusing antics of the circus clowns as they jump and bounce around entertaining the crowd. Scored for piccolo, 3 flutes, alto (C flute part included) & bass. (7:30) Level 3 more info

Optional parts now available for FREE download: contrabass flute string bass

1-At the Circus

2-On the Flying Trapeze

3-Clowning Around

Une Chanson du Printemps
by Phyllis Avidan Louke, pub. ALRY Publications
Video Performance by St. Xavier University Flute Choir

Une Chanson du Printemps (Spring Song) is an original composition for Flute Choir. The main theme is a poignant melody in 6/8 time, meant to evoke the feeling of meandering through a field of flowers on a fine spring day–hence the title “Spring Song”. The piece is written in a “theme and variations” form that begins with a 1st Flute solo stating the theme with a very simple accompaniment. As the piece expands, it features each section playing the melody and/or counter melody during at least one variation, including a delightful duet section featuring the bass flute playing the melody in augmented form, accompanied by alto flute countermelody. Scored for piccolo, 3 flutes, alto (C flute part included) & bass flute (5:00) Level 3 more info

Optional parts now available for FREE download: contrabass flute

We Three Kings/Carol of the Bells
arr. by Phyllis Avidan Louke, pub. ALRY Publications
Listen Recording by National Flute Choir on the CD Christmas Flutes

This arrangement combines the familiar Christmas songs, We Three Kings and Carol of the Bells in a unique way. The piece begins with a theme from Carol of the Bells which is present throughout most of the arrangement as a rhythmic ostinato element tying the two songs together. The two songs are alternated throughout the piece, as well as juxtaposed, utilizing additional counter melodies to add interest and different tone colors. The melodies travel throughout each of the instrumental parts changing the texture and enhancing the joyous nature of this arrangement. Scored for piccolo, three c-flutes, alto flute (C flute part included) and bass flute (3:00) Level 2+ more info

Optional parts now available for FREE download: contrabass flute

When Johnny Comes Marching Home
arr. by Phyllis Avidan Louke, pub. Sheet Music Plus (avail. as digital download) See Reviews

This traditional song is arranged in a theme & variations style where each section of the flute choir has a turn at the melody. Interesting countermelodies and quotations interwoven into this piece give it a unique sparkle. Scored for piccolo, 3 flutes, alto (C-part included) and bass flute. (4:00) Level 3 more info