Trevor Wye has an impressive catalog of pedagogical works spread through several publishers, many of which have become standard fare for beginning, advancing, and accomplished students. With Looking at More Efficient Practice on the Flute, he is pulling all of that together for a comprehensive study plan, designed to maximize the practice time required of all flutists. Wye looks at all of the components of efficient practice, from the flute itself, to the standard repertoire, to posture, to rhythmic consistency, and much, much more. Given all of the methods and studies that Wye has produced, this is the book that forms the foundation for their use. For beginners, to intermediate, to advanced.

Falls House Press B-TW9 • $26.95  Add to Cart

This investigative edition sheds new light on the perplexing features of Bach’s great work. For example, the continuous sixteenth notes in the Allemande — where to breathe? — embrace both the typical features of allemandes and some highly irregular ones. The authors propose that the atypical, psalm-like structure, delivered with the speech-like enunciation used by Baroque flutists, allows the kind of breathing appropriate to a recitation.

The unusually intense melody turns out to fit the structure and images of two particular psalms. The remaining movements — Corrente, Sarabande, and Bourrée anglaise — likewise prove both typical and atypical of their dance types, and make a strong contrast with the Allemande while intimately identifying with it.

The edition includes a manuscript facsimile and modern transcription of the Partita, as well as a complete structural analysis, a structural enunciation, a rhetorical analogy, and a method of emphatic delivery for the Allemande. 25 pages of music, 43 pages of text and musical examples.

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Technique Standards for Flute organizes scales and arpeggios based on criteria established by the Pedagogy Committee of the National Flute Association. It presents material in three clearly defined ability levels (A, B, C), providing a feeling of progress and accomplishment as each level is achieved. A written test is also included covering theory, vocabulary, and listening skills. A must-have book for the technical development of flute-playing.

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World-renowned flute pedagogue Dr. Chris Potter has provided the flute world with a method book meant to provide structure for players who wish to develop the expressive tool of vibrato, adding warmth, character, energy and atmosphere to their playing. After working with her students for many years, Potter has developed exercises meant to help players develop control of the air supply to produce vibrato. The included CD gives demonstrations of each exercise, along with other helpful tips from Dr. Potter. Flute players will be glad to see that this aspect of flute technique is so well-addressed in this book.

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Originally written for piano solo by 19th- and 20th-century French composer and pianist Cecile Chaminade, Autumn has been arranged for solo flute and piano by Trevor Wye. Its wonderfully haunting melody made it one of Chaminade’s most popular works, and this new arrangement allows both pianist and flutist to show off their skills. For advanced players.

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Comissioned by the National Flute Association High School Competition in 2010, Jane Rigler’s InterPresence for solo flute “contains 4 mini-ideas or ‘images’ and one main gesture (the opening), which weaves everything together,” according to the composer. InterPresence also contains Rigler’s specific expression and style markings, which can be viewed within the piece, and are also demonstrated in an online video (URL listed in score). For advanced players.

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Grieg composed this joyful work for his wife Nina, in honor of their 25th wedding anniversary. He performed it for her and over 100 guests at the anniversary celebration at Troldhaugen, their home near Bergen, Norway. This arrangement was derived from Falls House Press’ previous arrangement for flute choir, and the publication contains two versions: one for two flutes and one for flute and B-flat clarinet. For advanced players.

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Liesa Norman, one half of the innovative duo Forbidden Flutes, wrote this jazz-inspired classical crossover work for their 2008 recording Take the L Train. Mood Swingin’ is a moving and listenable addition to any flute recital, with a flexible format which allows it to be played by two flutes with a full rhythm section or simply by two flutes and piano. As a result, it could be played anywhere from an intimate jazz club to a formal concert hall. Mood Swingin’ represents the composer’s own broad range of personal expressiveness. Like the ever-changing artists’ moods, this piece is at once sultry, syncopated, and synergetic. Mood Swingin’ also serves as an excellent teaching tool for both student and professional flutists who want to develop their improvisation skills and jazz sensibilities. For intermediate to advanced players.

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Inspired by Prokofiev’s Vision Fugitive for solo piano, jazz-inspired classical flute duo Forbidden Flutes’ Liesa Norman blends crunchy jazz harmonies with the Russian Master’s quixotic melodies to create this classical crossover flute duet. Accompanied by a full rhythm section, this composition gives each of the musicians an opportunity to experiment with improvisation in the solo sections, midway through the piece. Purple Phobia’s tongue-in-cheek title refers to Liesa’s aversion to the color that conversely happens to be the favorite of her Forbidden Flute partner. You can hear these dueling flutists dance through this piece’s sprightly rhythms and chase each other through playful articulated passages on their jazz-influenced classical recording, Take the L Train. For intermediate to advanced players.

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A Christmas service or concert will be complete with flute pedagogue Trevor Wye’s lovely arrangement of the beloved “Away in a Manger” tune for four flutes and cello. The cello part may also be played by a bassoon or keyboard. For intermediate players.

Falls House Press FC-TW11 — Score and Parts — $12.95  Add to Cart
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Written in celebration of the Raleigh Area Flute Association’s 25th anniversary, Ann Cameron Pearce’s Cosmic Horizons for flute choir exemplifies the organization’s unofficial motto: “The sky is the limit.” The main theme evokes meteors zipping sporadically in different directions throughout the solar system with multiple meter changes, and the secondary theme suggests the mysterious nature of outer space, with the “star” being a singing bowl or handbell and wooden dowel. For advanced ensembles.

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This traditional klezmer tune for flute choir begs you to dance! Arranged by klezmer flutist Adrianne Greenbaum, Di Rayze Nokh Amerike (The Trip to America) can be performed in concert or as part of a dance program. This work can be repeated a few times, offering opportunities for different ornamentation and round-robin switching of parts. Perfect for community or school groups looking to add some fun alternative music to a program, this work includes traditional ornamentation and rich historical information. For intermediate to advanced players.

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This collection contains the following beloved arias from Mozart’s The Magic Flute: “Monostatos’ Aria,” “Papageno’s Aria,” and “The Queen of the Night's Aria.” The works in this transcription are taken directly from the score and are faithfully reproduced in this edition. For advanced players.

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Jonathan Cohen
Flutes and Vegetables
Flute Choir

Flutes and Vegetables offers a full daily recommended allowance of energetic dances sure to hold the interest of you and your audience, and consists of four courses. The meal begins with Pepper Presto, a fiery Latin number of fast syncopation and drama. Next is The Enchanted Eggplant, a wonderfully demented waltz in harmonic minor, bringing to mind TV shows and movies that blend humor, magic, and the dark side. Sweet Potato Jig is a lively jig with Celtic elements, including long rolls, drones, and the piccolo acting as a tin whistle. For dessert is Dance of the Radishes, a happy reel that builds and accelerates to a dizzy ending that will leave everybody smiling. Scored for piccolo, 4 C flutes, alto flute, bass flute, and optional contrabass. There is also a sub-contrabass flute part upon request. Dur.: 6'

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This tenor aria from Bach’s Cantata 188 is set for six-part flute choir with optional contrabass flute. The 2nd alto flute part plays the tenor solo and the solo oboe part has been given to the first flutes. Written in 1728, this work was performed only once during Bach’s lifetime and was lost until 1891 when its manuscript was reconstructed by Alfred Dorffel. Arranger Emily Brown is a student of Darlene Dugan and a member of the West Michigan Flute Orchestra.

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Known as the Cuban Gershwin, 20th century composer Ernesto Lecuona wrote Malagueña as the sixth and final movement of his Suite Andalucia for piano, referring to the southern Spanish port city of Malaga. A flamenco piece, Ann Cameron Pearce’s arrangement of Malagueña is a delightful study in contrasting tempi and styles, with impish themes, driving basslines, frivolous arpeggios and a dramatic flair. For advanced ensembles.

Falls House Press FC-ACP14 — Score and Parts — $23.95  Add to Cart
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Part of a rare programmatic work by Beethoven, the “Scherzo” from his sixth symphony is meant to evoke a festive gathering of peasants. In the original symphony, this movement does not have a clear ending, giving away to an attacca into the next. Anthony McDonald has employed the last five measures from the scherzo to Beethoven’s Symphony No. 7 to serve as the ending in this edition. Joyous and quick, this piece will be a delight for audiences and players alike. For intermediate to advanced players.

Falls House Press FC-McD8 — Score and Parts — $29.95  Add to Cart
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Ann Cameron Pearce was inspired to arrange these three tone poems for SATB chorus when she heard them performed by the Jim Marshall Chorale in 1994. Composer Ryohei Hirose, perhaps best known for his flute ensemble Blue Train, was a respected professor and administrator in the Kyoto City University of Arts music department for more than 20 years, and originally wrote music for traditional Japanese instruments. The three pieces included here, “There Was No Ocean,” “The Tufted Puffin,” and “Lullaby for the Ocean” represent some of his later work for traditional western instruments and voicings, and translate beautifully to flute choir. For advanced ensembles.

Falls House Press FC-ACP13 • Score and Parts • $36.95  Add to Cart

“Father of St. Louis Ragtime” Tom Turpin (1871-1922) was a St. Louis pianist and the keeper of the Rosebud Saloon, which was often frequented by Scott Joplin and other ragtime pioneers. Turpin was the first African-American to have ragtime music published, and this tune dates back to 1903. A detached style throughout along with exaggerated dynamics and accents make this piece great fun to perform, as well as an audience-pleaser. For intermediate to advanced players.

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Wedding Day at Troldhaugen was written for solo piano by Edvard Grieg as a special present to his wife, in honor of their 25th wedding anniversary. Falls House Press presents a lovely new arrangement for flute choir by Claudia Bissett that was commissioned by Dr. David Deifik, a member of the Nashua Flute Choir, for his daughter’s wedding in 2008. Beginning with a theme that evokes a village wedding procession, the piece slips into a gentle, romantic feeling before returning to the main theme. For advanced players.

Falls House Press FC-CB5 • $25.95  Add to Cart

A danceable klezmer tune from the 19th century, Zayt Lustik (Happy Time) is ideal for a dance program or as a wild card in a concert. The song can be repeated a few times, offering opportunities for different ornamentation and round-robin switching of parts. Perfect for community or school groups looking to add some fun alternative music to a program, this work includes traditional ornamentation and rich historical information. For intermediate to advanced players.

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The aboriginal name given to the island of Puerto Rico is Borikén. This concerto, which bears the same name, presents to us in its first two movements, “I.Yocahú and Juracán” and “II. Taíno Prayer,” a “sonoric vision” of the Taíno native culture. The third movement, titled “III. Mestizaje” (“crossing of races”) exposes a different musical-cultural conception. The generative element on this third movement emphasizes the European, Spanish and African heritages which predominate in contemporary Puerto Rico. For advanced players. Duration: 27’

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Robert Raines’ Ménage for flute, bass clarinet and piano strives to explore varied relationships between these three “individuals” in solo, duet and trio settings. From the composer: “When I began composing the piece, my intention was to create an abstract, non-programmatic framework in which to explore the combinations of timbre and texture that these instruments offer. However, the ‘power of three’ seems to have been at work on this music, either subconsciously or by some unseen musical force.” For advanced players.

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Falls House Press makes available a critically overlooked work by an equally eligible 19th century composer, Gaspard Kummer. In Richard Rockstro’s The Flute (1890), Rockstro says of Kummer: “I know of no composer of music for the flute whose works are of such uniform excellence as those of Gaspar Kummer. His music had finesse, elegance, and noteworthy clarity.” This piece is a unique work not in instrumentation but its naturally flowing conversation between instruments and unexpected harmonic twists. For advanced players.

Falls House Press CW-B3 • Facsimile Set of Parts • $34.95  Add to Cart

William Averitt’s Tunebook for Woodwind Quintet is a new take on seven melodies from The Sacred Harp, the most famous of the 19th-century source books. This work combines these melodies with contemporary harmonic practice to create a 19-minute work for woodwind quintet in seven movements: “Saints Bound for Heaven,” “Idumea,” “Sweet Prospect,” “Home,” “The Enquirer,” “Expression,” and “Jordan’s Shore.” For advanced ensembles.

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Gary Schocker

This five-movement work for flute and bass flute duet colorfully depicts plant life, sure to please both players and the audience.

Falls House Press 2F-GS44 — Performance score — $9.95  Add to Cart
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From the most-published composer of flute music, we have a new work for flute choir in two movements: I. Stained Glass and II. Wind. The first movement is introspective with all instruments moving together on similar musical lines, while the lively second movement allows each section to shine with energy. Commissioned by the Texas Flute Society, Austin Flute Club, Coastal Bend Flute Club, Floot Fire, Flutasia Flute Choir, Flutes Unlimited Flute Choir, Houston Flute Club, and the University of Texas – San Antonio Flute Choir. For advanced players.

Falls House Press FC-GS39 • $29.95  Add to Cart
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An “ikebana” is meant to be a poem told by flowers, and takes form in the shape of lovely, meticulously placed flower arrangements. Gary Schocker has written a dreamy, beautiful piece about the ikebana, commissioned by the Arizona Flute Society. For advanced players.

Falls House Press FC-GS42 • $22.95  Add to Cart
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Gary Schocker has arranged four Korean ta-ryeong folk songs for two flutes; a specific type of Korean folk music that originated in villages and characteristically repeats sounds and words, expressing the longings of an average person. The songs included in this release are: “Gyeong-bog gung ta-ryeong,” “Geumgangsan ta-ryeong,” “Nampo ta-ryeong,” and “Ta-ryeong.” For advanced players.

Falls House Press 2F-GS41 • $9.95  Add to Cart
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As a follow-up to his Traditional Japanese Melodies for two flutes, Schocker here presents his duo arrangements of ten Taiwanese folk tunes. The selections reflect a broad range of moods and colors, with titles such as “Torn Fishing Net,” “Grief,” and “Longing.” For advanced flutists.

Falls House Press 2F-GS37 • $9.95  Add to Cart
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1. Silhouette
4. Cheerful
8. Summer Jasmine

Written for Los Angeles-area players Ryan and Maria Ramey, Gary Schocker’s new trio for flute, horn and piano is a lovely, expressive piece echoing the waves of the ocean; “water music” for contemporary times. For advanced players. See sample pages.

Falls House Press CW-GS40 • $18.95  Add to Cart

Meaning “gentle zephyr” in Italian, Zefiro Delicato, depicting a gentle wind, was written for Salvatore Lombardi and the Falaut Flute Orchestra in Italy. For advanced ensembles.

Falls House Press FC-GS43 • $14.95  Add to Cart
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Issued with the aim of improving the flute's singing voice, 18 arias are arranged for flute and piano, with Wion's capable guidance throughout. With discussion of phrasing, dynamics, and vocalising, Wion seeks to elevate the spirit of the instrument, not merely the technical skills required to play. Read more (pop-up PDF)

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