UNLV Theses/Dissertations/Professional Papers/Capstones

12-1-2010

An Annotated guide to flute and guitar music
Kristi Benedick
University of Nevada, Las Vegas

Repository Citation
Benedick, Kristi, "An Annotated guide to flute and guitar music" (2010). UNLV Theses/Dissertations/Professional Papers/Capstones. Paper 1035. http://digitalscholarship.unlv.edu/thesesdissertations/1035

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AN ANNOTATED GUIDE TO FLUTE AND GUITAR MUSIC

by

Kristi Benedick Bachelor of Music Education Southeast Missouri State University 2001 Master of Music Illinois State University 2004

A doctoral document submitted in partial fulfillment of the requirements for the

Doctor of Musical Arts Department of Music College of Fine Arts

Graduate College University of Nevada, Las Vegas December 2010

Copyright by Kristi Benedick 2011 All Rights Reserved

Graduate Faculty Representative Ronald Smith. Vice President for Research and Graduate Studies and Dean of the Graduate College December 2010 ii . D. Committee Member Cheryl Taranto. Committee Chair Jennifer Grim.THE GRADUATE COLLEGE We recommend the doctoral document prepared under our supervision by Kristi Benedick entitled An Annotated Guide to Flute and Guitar Music be accepted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Department of Music Stephen Caplan. Committee Member Brackley Frayer. Committee Member Janis McKay.. Ph.

and catalog listings. various collections. arranger. Las Vegas This document will contain an annotated bibliography of all of the flute and guitar music that is currently available. including libraries. description of difficulties. The pieces will be located and obtained by diverse sources. iii .ABSTRACT An Annotated Guide to Flute and Guitar Music by Kristi Benedick Dr. Stephen Caplan. publisher. The study will be completed after careful examination of each piece listed in the document. The end result will be a publishable resource for both flutists and guitarists of all levels. The annotations. date of publication. Examination Committee Chair Professor of Music University of Nevada. will include title. composer. and description of the piece. level of difficulty. organized by level of difficulty.

Dr. Grim for their sustained encouragement. iv . The staff at UNLV’s Document Delivery Service deserves recognition for the insurmountable amount of work they did to acquire the scores needed for this document. guided me through my lecture recital. Stephen Caplan. in his one short year of being my flute teacher at UNLV. assistance. my friends and family should be recognized for encouraging me. Dr. who began this journey at UNLV with me and who helped me conceive this document topic. Richard Soule. Taranto and Dr. Finally. and who has since provided me with continued friendship and support. First. Paul Thompson. and patience throughout my doctoral program. Janis McKay. I would like to recognize Dr. helped me grow as a musician. and Sven Rainey who has been my guitar liaison throughout this process. my previous flute professor at Southeast Missouri State University. Others who have helped along the way include Dr.ACKNOWLEDGEMENTS During the lengthy progression of this document I have accumulated a long list of people who deserve recognition. and Brackley Frayer for serving on my committee at UNLV and for their assistance and recommendations in writing this work. Caplan should also be recognized for filling the position of my committee chair when I needed him to and for helping me collect signatures and navigate through my paperwork. John McMurtery who. Jennifer Grim. for his guidance and support in helping me through the editing process of this document and for his unwavering confidence in me through my entire college career. I would like to thank Professors Cheryl Taranto. having confidence in me. They continually gave their time and expertise in preparing me and helping me through all aspects of the program. and keeping me grounded throughout this whole process. I am forever indebted to Mr.

.........TABLE OF CONTENTS ABSTRACT.................................................... iv INTRODUCTION ..................................................................................................................................................................................................................................................................................................................................................................................................................... 9 LEVEL II ................................................................................................................................................... 4 LEVEL I ................... 143 VITA ..... 113 APPENDIX 1 INACCESSIBLE WORKS LISTED IN WORLD-CAT ....... 28 LEVEL III ........................................................iii ACKNOWLEDGEMENTS ................................................................................................................................................................................................................................................................................................................................... 152 v .............................................................................................. 132 BIBLIOGRAPHY ........................................... 61 LEVEL IV........................................................................................................................................... 1 LEVEL DESCRIPTIONS ...........

the inquirer can then determine the appropriate level that they require and browse through an alphabetical listing of pieces within that level. After reading these descriptions. Prior to Giuliani there was little written for the ensemble other than duos for recorder and guitar or lute. 101.INTRODUCTION The purpose of this document is to provide a comprehensive annotated list of currently available flute and guitar works. the flute Thomas Heck. During the early nineteenth century Guiliani lived in Vienna where he was establishing himself as a composer. level descriptions are provided for the inquirer. professional flutists. Listing of Currently Available Works. but the solitary bibliography that exists for flute and guitar is Irene Maddox’s Flute and Guitar. he wrote many works that displayed the guitar’s virtuosity and lyrical capacities. The Birth of the Classical Guitar and its Cultivation in Vienna. Prior to the annotations. students. 2 Ibid. diss. 2 After Giuliani demonstrated the vast possibilities of the duo. The content is organized by level of difficulty. 96. and amateur flute and guitar ensembles looking for performance repertoire. Reflected in the Carreer and Compositions of Mauro Giuliani. Bibliographies presently exist for flute music in general. D. The majority of non-transcribed flute and guitar music is therefore from the twentieth century and beyond.1 From 1812 until his death Giuliani wrote extensively for the flute or violin and guitar combination. By the twentieth century a considerable amount of music was written and continues to be written for the duo. The document is meant for college professors. 1 1 . The popularity of the flute and guitar duo can be traced back to Maro Giuliani (1781-1829). making it currently 30 years out of date. Well-known as a guitarist. more composers began exploring this combination. Yale University. who contributed considerably to the repertoire. Due to the vast amount of twentieth century music written for the ensemble..1970). The works he wrote during this time for guitar and flute or violin. Maddox’s un-annotated document was published in 1980. (Ph. and guitar and voice were works in which he displayed the guitar as more than merely an accompanimental instrument.

An Annotated Bibliography. To obtain the materials. pitch range. Without this final access date. the remaining scores that were not obtainable through the libraries were purchased. and dynamics. Franz Vester’s Flute Music of the 18th Century. James Pellerite’s A Handbook of Literature for the Flute. the project would remain endlessly incomplete. 2009 was chosen as a final access date for the scores included in the World Cat database. Bernard Pierreuse’s Flute Literature: General Catalog of Published and Unpublished Works by Instrumental Category. while the annotations simply expand on those elements and therefore do not contain comments about every element listed above and in the level descriptions. Finally.and guitar ensemble has become increasingly popular. The features studied in both the flute and guitar parts of each piece include: number of movements. In preparing this document. In order to determine classification methods. Since Maddox’s publication in 1980 an abundant amount of music has been composed for the duo additionally making a current bibliography necessary. The Flute World and Guitar Solo Publications’ catalogs were also searched to help complete this list. extended techniques. the author primarily used the University of Nevada Las Vegas’s document delivery service and then examined the National Flute Association Collection housed at the University of Arizona library in Tucson. Due to the living nature of the topic. several additional sources were consulted as models. The difficulty or simplicity of these features determined in which level the pieces are listed. April 13. the online database World Cat was searched to obtain a primary list of flute and guitar repertoire. time period in which the work was written. and Nancy Toff’s The Flute Book. 2 . Arizona. The annotations included in this document are meant point out challenges and/or important observations about the works. rhythmic difficulty. ornamentation. The level descriptions provide a primary guide to what specific elements the pieces will contain. Irene Maddox’s Flute and Guitar: Listing of Currently Available Works. texture. These sources include the Flute World Catalog’s grading system. melodic content. technique.

This document is organized with the level descriptions followed by the four primary sections. If a level I or level II work displays a characteristic that is not listed in the level descriptions. 3 . Finally. The level I and level II categories do not contain annotations for all of the pieces listed. The majority of the pieces in levels I and II display the characteristics as described in the level descriptions. the characteristic is mentioned in a short annotation. each of which represents a level. the end of the document includes an appendix of the flute and guitar works that were listed in WorldCat and/or the Flute World and Guitar Solo Publications’ catalogs but that were unattainable either for purchase or for loan through the interlibrary loan system.

eighth notes. Flute and guitar rhythmic complexity: Rhythms may contain simple syncopation. crescendos. mezzo piano. and grace notes. dotted quarter-eighth note combinations. and dotted eighth sixteenth note combinations. dotted eighth notes. mordents. and diminuendos. 3/4. dotted half notes. sixteenth notes. In these instances I have placed the piece in the level that best describes the piece and pointed out the more difficult elements in the annotation.LEVEL DESCRIPTIONS The level descriptions list the main characteristics of each piece. Level IV requires a graduate student base level of playing and above. dotted quarter notes. Also in the level descriptions when c-4 is referenced it pertains to middle c. mezzo forte. 4 . An early high school/late middle school foundation of playing is needed for the pieces in level I. 12/8. 3/8). Flute and guitar ornaments: Ornaments are used infrequently and include trills. Flute and guitar dynamic range: Minimal dynamic changes are used. half notes. Meters that may be used are either simple (2/4. Level IV lists pieces that require the frequent use of extended techniques and avant-garde rhythm and pitch organization. forte. whole notes. quarter notes. At times a piece may contain a small number of elements that fit into a higher level than the the one in which the piece has been placed. Level II is intended for performers with a late high school to early undergraduate college base level of playing. Level I: Flute pitch range: The flute part ranges d-4 to g-6 and includes mostly stepwise intervals with leaps no larger than a sixth. 4/4) or compound meter (6/8. Level I it is not intended for very basic beginners. Meter changes within a piece are infrequent and typically change from a simple meter to another simple meter or from a compound meter to another compound meter. Level III is intended for performers with a midundergraduate college to graduate base level of playing and beyond. triplets. Dynamics that may be required include: piano.

Level II: Flute pitch range: The flute part uses a ranges from c-4 to c-7 and includes some use of leaps of up to an octave. and tempo changes may be used. and/or compound meters (6/8. and falls. Meter changes typically stay within simple or compound meter. however few meter changes from simple to compound or the reverse may be incorporated into the works. 3/8. and tempo changes. crescendos. 3/4. Level I guitar parts occasionally contain simple melodic material as well. Ensemble texture/rhythm: Both the flute and guitar parts contain complementary rhythms (no two-against-three or three-against-four). turns.). Meters may include: cut time. Guitar extended techniques: Guitar extended techniques are used infrequently and may 5 . ritardandos. 4/4.Flute extended techniques: No extended techniques are used in level I pieces. The flute and guitar play together most of the time with very few solo sections for either instrument. 5/4. Ornamentation is used moderately to frequently and at times obscures the rhythms. syncopation. grace notes. accelerandos. etc.). sforzandos. Dynamics change more frequently than in level I. ritardandos. 12/8. diminuendo. Flute extended techniques: Flute extended techniques are used infrequently and may include glissandi or flutter tonguing. Flute and guitar ornaments: Ornaments used include trills. mordents. Some simple accelerandos. Textures are typically homophonic with the flute playing the melodic material and the guitar playing accompaniment material. Flute and guitar dynamic range: Dynamics used may include the full range of dynamic variety. Technical passages contain mainly scalar and/or arpeggiated patterns. Guitar texture: Level I guitar parts typically contain simple chords and arpeggios that support the flute line. etc. simple meters (2/4. Flute and guitar rhythmic complexity: Rhythms may contain all rhythmic values and their combinations. forte-pianos.

Meter changes from compound to simple and the reverse are common. and glissandi. Level III: Flute pitch range: The flute range includes pitches from b-3 to d-7 and contains a moderate number of leaps (up to 2 octaves wide). shifting from pianissimo to fortissimo within a few beats). key clicks. timbral trills. Retuning of specific guitar strings may occur. rasgueado. and complex rhythmic combinations. Flute extended techniques: Flute extended techniques are used moderately and may include flutter tonguing. Textures are primarily homophonic with mostly flute melody and guitar accompaniment but at times the guitar may become the melodic instrument. frequent syncopation. Flute and guitar ornaments: Ornaments include all ornamental possibilities and may be used frequently. Solo sections also may be used for either instrument. Guitar texture: The guitar part primarily contains chordal and arpeggiated material but also contains more frequent melodic material than in level I. Technical runs in level III pieces are not always based on scale patterns or arpeggiations. Flute and guitar dynamic range: All dynamic possibilities may be used.include harmonics (natural and artificial). Frequent dynamic changes and extreme shifts are common (ex. Tempos change more frequently than in level I and accelerandos and ritardandos are also used more frequently than in level I. Flute and guitar rhythmic complexity: Rhythms may consist of all values and combinations. 6 . harmonics. Ensemble texture/rhythm: Both parts contain mostly complementary rhythms with a few instances of two-against-three or three-against-four. Meters change frequently and use all possibilities of simple and compound meters. and tamboura.

rasgueado. frequent syncopation. frequent meter changes. Level IV: Flute pitch range: The flute range includes b-3 to f-7 and there may be frequent large leaps (2 octaves or larger). technical runs. Flute and guitar rhythmic complexity: Rhythms may contain all rhythmic combinations. and the use of cadenzas in both parts may occur. and sections of melody and accompaniment at the same time. Technical passages contain large leaps and are frequently not based on scale or arpeggio patterns. percussion. Graphic notation of pitch and rhythm elements also may be used. Moderate tempo changes. the lack of a meter. Frequent dynamic changes and extreme shifts may exist. Textures used include homophony. Guitar texture: The guitar texture may use all of the elements in the previous levels but the material becomes more challenging in level IV. frequent melodic material. polyphony.Guitar extended techniques: Guitar extended techniques are used moderately and may include harmonics (natural and artificial). Flute and guitar extended techniques: These pieces may include the frequent use of all possible extended techniques. Flute and guitar dynamic range: All dynamic possibilities may be used. two-againstthree). Flute and guitar ornaments: All possible ornaments may be used. all meter possibilities. and non-standard rhythmic notation. tambura. tremelo. Ensemble texture/rhythm: Frequent non-complementary rhythms may be used (ex. and monophony and often contain short to lengthy solo and/or cadenza sections for either instrument. use of ritardando. Guitar texture: Guitar textures may use difficult chord and arpeggio structures. 7 . and retuning of specific strings. difficult rhythmic combinations.

Ensemble texture/rhythm: All possible textures and all possible complementary or noncomplementary rhythms may be used as well as frequent accelerando, ritardando, ad lib, use of cadenza, tempo changes, and flexible tempos.

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LEVEL I Flute pitch range: The flute part ranges d-4 to g-6 and includes mostly stepwise intervals with leaps no larger than a sixth. Flute and guitar rhythmic complexity: Rhythms may contain simple syncopation, whole notes, half notes, dotted half notes, quarter notes, dotted quarter notes, eighth notes, dotted eighth notes, sixteenth notes, triplets, dotted quarter-eighth note combinations, and dotted eighth sixteenth note combinations. Meters that may be used are either simple (2/4, 3/4, 4/4) or compound meter (6/8, 12/8, 3/8). Meter changes within a piece are infrequent and typically change from a simple meter to another simple meter or from a compound meter to another compound meter. Flute and guitar dynamic range: Minimal dynamic changes are used. Dynamics that may be required include: piano, mezzo piano, forte, mezzo forte, crescendos, and diminuendos. Flute and guitar ornaments: Ornaments are used infrequently and include trills, mordents, and grace notes. Flute extended techniques: No extended techniques are used in level I pieces. Guitar texture: Level I guitar parts typically contain simple chords and arpeggios that support the flute line. Level I guitar parts occasionally contain simple melodic material as well. Ensemble texture/rhythm: Both the flute and guitar parts contain complementary rhythms (no two-against-three or three-against-four). Some simple accelerandos, ritardandos, and tempo changes may be used. Textures are typically homophonic with the flute playing the melodic material and the guitar playing accompaniment material. The flute and guitar play together most of the time with very few solo sections for either instrument. Albinoni, Tommaso. Sonate en la mineur pour flûte et guitare. Arranged by Jean-Mauirce Mourat. Paris: Billaudot, 1982. Almeida, Laurindo. Autumnal Prelude for Flute and Guitar. [Sherman Oaks, CA.]: Brazilliance Music, 1980s. The guitar writing here is more demanding than the flute part. It includes a lengthy opening cadenza as well as harmonics and grace notes.

9

Arriagada, Sergio. Chants et danses de la cordillere des andes pour les premières années de flûte et de guitare. Transcribed by Raùl Maldonado. Paris: Editions Henry Lemoine, 1997. This collection contains nine works for flute and guitar. The remaining four works are for flute and two guitars or two flutes and two guitars. Bach, Carl Philipp Emanuel. Sonate E-Moll für Flöte und Gitarre. Realization by Klaus Jäckle. Bühe: Antes Edition, 1998. Bach, Johann Sebastian. 7 Spielstücke aus dem Klavierbüchlein für Anna Magdalena. Guitar part edited by Ursula Peter. Weimar: Thüringer Volksverlag, 1950. This arrangement of seven short eighteenth-century pieces contains one work, Bourree, for flute and guitar. The remaining works are scored for solo guitar, two guitars, or piano. Bach, Johann Sebastian. Badinerie from Suite Nr. 2, BWV 1067. Transcribed by Richard Tower. Nijmegen, Holland: Van Teeseling, 1972. Bach, Johann Sebastian. Dances and Marches. Arranged by Harry Dexter. New York: Shattinger International, 1974. Bach, Johann Sebastian. Goldberg Variations: No. 18 Canon at the Sixth, No. 22 Alla Breve, No. 30 Quodlibet. Arranged by Rose Smith. Edited by Terry Herald. Detroit: Little Piper, 1988. This work requires the guitarist to tune the sixth string to d in No. 18 and e in No. 22. Bach, Johann Sebastian and Herbert Guy. Minuet from “The Notebook for Anna Magdalena Bach” Edited by Herbert Guy. S.l.:s.n., 1976. Bach, Johann Sebastian. Sicilienne et menuets pour flûte et guitare. Arranged by Jean-Maurice Mourat. Paris: Gérad Billaudot, 1980. Bach, Johann Christian. Sonata für Flöte (Violine) und Gitarre A-Dur Op. 16/4. Edited by Walter Haberl. Guitar Fingerings by Konrad Ragossnig. Mainz: Schott, 1989. Bagger, Boris Björn, arr. Mariae Wiegenlied: Cancion d'amor: für Flöte (Violoncello) und Gitarre. Bühl: Antes Edition, 1995. Baier Jiří. Bagatela. Praha: Panton, 1986. Bántai, Vilmos, Imre Kovács, and Erzsébet Nagy, ed. Régi zene fuvolára és gitárr =Early Music for Flute and Guitar. Budapest: Editio Musica, 1974. Barlow, Fred. Pavane pour flûte ou violon et guitare extraite “de Gladys.” Transcription by Roger Cotte. Guitar fingerings by Jean-Pierre Cotte. Paris: Henry Lemoine, 1962. Baron, Ernst Gottlieb. Sonata for Guitar and Flute (or Tenor Recorder) in G Major. Edited by Stanley Buetens. Menlo Park: Instruments Antiqua, 1968. Baron, Ernst Gottlieb. Sonata für Laute (Gitarre) und Flöte. Edited by Victor van Puijenbroeck. Antwerpen: Uitgave Metropolis, 1976.

10

1995. Ludwig van. Danvers. Garth. Sonatine brève pour flûte et guitare. Charlotte. 27. 1961. Boccherini. Arranged by Wolfgang Riedel.. 1997. Arranged by Matthias Wollny. 3/2 meter occurs in one of the movements of this work.) Baxter. Baron. Valley Forge. IL: Guitar Chamber Music Press. 1976. 11 . 1988. Boismortier. Andante per il Clavicembalo für Klavier oder Flöte und Gitarre. 1982. Some of the pieces in this collection of sixteen Hungarian folk tunes contain elements that are more challenging than level I: for instance the use of 3/2 meter and a flute range that extends down to c-4. Beethoven. Bonnard. 1996. 1975. Joseph Bodin de. Edited by Jean-Maurice Mourat. Zwei Kleine Sonatinen für Flöte (Violine) und Gitarre. 2. Thomas. Edited by Brodszky Ferenc. Early One Morning for Flute (Recorder. Sonate en la mineur pour flûte et guitare. (These may be taken up an octave to accommodate a level one flutist. No. Zwölf Deutsche Tänze für Violine (Flöte) oder Klarinette und Gitarre. Zwei Konzerte für Violine (oder Flöte) und Gitarre (Viola da Gamba oder Violoncello Continuo ad Libitum). Transcribed by Ferdinand Rebay. Decatur. Bozza. Bartók. Frankfurt: Zimmermann. Ernst Gottlieb.Baron. Beaser. Mainz: Schott. Menuet. 1979. MA: Santorella Publications. Ernst Gottlieb. Ludwig van. Flute Part Edited by Linda Kirkpatrick. Nijmegen: Muziekuitgeverij Van Teeseling. Georges. Paris: Alphonse Leduc. Paris: Gérard Billaudot. táncok furulyára és gitárra. Beethoven. le divin enfant pour flûte et guitare. Bela. Ludwig van. Arranged by Lee West. Arranged by Jean-Maurice Mourat. Paris: Alphonse Leduc. Sonata quasi una fantasia Op. Violin. Dave. Arranged by Andreas Grün and Frank Michael. PA: Helicon Music Corp. 2004. La Nostalgie. Frankfurt: Zimmermann. 2000’s. Alain. Sonate for Two Guitars or Guitar and Flute. Beethoven. Magyar és szlovák népdalok. Frankfurt: Zimmermann. arr. Paris: Gérard Billaudot. Brawn. Robert. Bizet. Moonlight Sonata. Four Interludes for Flute and Guitar. LTD.. Burdick. 1989. Luigi. NC: Alry Publications. San Antonio: Southern Music Co. Geneva: Philomele Editions. 1984. Ludwig van. 1977. 2000. Eugène. Berceuse et Sérénade pour flûte et guitare. 1992. Beethoven. Habanera. Transcribed and Arranged by Grant Gustafson. or Oboe) and Guitar. Il est né. Budapest: Editio Musica.

Frankfurt: Zimmermann. Bartolome. 1968. 2009. 1978. Ferdinando. arr. Flute and Guitar Duets: Christmas Carols Book 1 & 2. Claudio. Cinq Microtangos is a set of brief. London: Useful Music. Sérénade op. The flute part of this work includes a few glissandi. Paris: Alphonse Leduc. CA: Caliendo Music Publishing. La Esgrimadora. Bologna: Orpheus Edizioni.. Caliendo. arr. 1982. Six Contertänze für Violin (Flöte) und Gitarre Op. Cinq Microtangos. Christopher. Arranged for Treble Recorder and Guitar by John W. 1997. Saint Romuald. 1969. Madrid: Unión Musical Española. 1 per chitarra e flauto. Toluca Lake. Fabritio. Cawkwell. Quatre pièces: extraites du Fitzwilliam virginal book. Caliendo. Calatayud. Four Pieces from The Fitzwilliam Virginal Book. Canada: Les Productions D’OZ 2000 Inc. arr. Divertimentos: suite para flauta dulce y guitarra: (puede ejecutarse a dos guitarras). 1998. These pieces follow the level I guidelines except the third work is unmetered. Los Angeles: Caliendo World Music Publishing. Caroso. Roger and Graham Lyons. Araniti. London: Schott. Balletto für Flöte und Gitarre. CA: Caliendo Music Publishing. Canada: Les Productions D’OZ 2000 Inc. Laggan.Byrd. Cawkwell. Flute and Guitar Duets: Popular Folk Songs. 1982. Camisassa. François. (However the third movement contains a flute range that extends to b-6. 2001. Arranged by Filippo E. François. Caliendo. Bartolome. 1998. Saint-Romuald. Cathrine. arr. Six Pièces pour Guitare et Flûte ou Instrument Mélodique. Madrid: Union Musical Espanola. 2001. William. 1983. London: Useful Music. The guitar part in this collection is comprised of chord symbols only. Ferdinando.) Carulli. 193. most of which belong in the level I category. Calatayud. 1969.. Christopher. Jal. 2001. Castet. Badenoch: Spartan Press. Duarte. homophonic contemporary works. Roger and Graham Lyons. Toluca Lake. 109 n. Por siempre para siempre. Frankfurt: Zimmermann. 12 . Divertimientos suite para flauta dulce y guitarra. Castet. 2004. Easy Blues Tunes for Flute with Guitar Chord Symbols. Terry. Edited by Mario Martino. Carulli. Christopher.

1900's. Pacific.. 2004. Sonata for Flute and Guitar. Corelli. Cuban Dances for Guitar and Flute.. Edited by Romualdo Spacca and Jacques Cavert. Arranged by Jean-Maurice Mourat. Bossa rose. Jean-Michel. 1988. Transcribed by Barna Kovats. Mazurka Op. Music for Oedipus (Delphic Hymn). Corrette. Bossa verte. 2000. Mel Bay Presents. 5. Cilenšek. 34/2 pour flûte et guitare. Coquery. Arranged by Robert Hériché and Jean-Maurice Mourat. Op. Leipzig: Veb Breitkopf and Härtel Musikverlag. Ignacio. 1985. Chopin. Cimarosa. Jean-Michel. Chopin. Sonata pour flûte et guitare. Johann. 2000. Frédéric. Edited by Eugenia Kanthou. Canada: Les Productions D’OZ 2000 Inc. CA: Brazilliance Music. 1970. Coquery. 15. London: Teleca Editions. Paris: Gérard Billaudot. Sérénade pour guitare et violon ou flûte. Variationen über die Arie "Non piú mesta" aus "La cenerentola" von Gioacchino Rossini. Dinos. Arcangelo. Coquery. Saint-Romuald. Domenico. Paris: Billaudot. Cervantes. Chopin. 1979. Arranged by Jean-Maurice Mourat. Saint-Romuald. 13 . Paris: Editions Max Eschig. Couperin François. Jean-Michel. Arranged by Laurindo Almeida. 1965. Vienna: Universal Edition. Lullaby for Alexandra. Sonate en mi mineur pour flûte et guitare. or Guitar Accompaniment. New York: Kalmus. 7/1 and Valse Op. Flute Solo with Harp Accompaniment. Wenceslas. Prelude No. Arranged by Terry Muska and Arthur Ephross. 1991. Canada: Les Productions D’OZ 2000 Inc. MO: Mel Bay Publications. Johann. 2000. Datshkovsky. Saint-Romuald. Frankfurt: Zimmermann. This work includes two instances of polymeter (seven against six). Les Petits Moulins à Vent. 1982. Sherman Oaks. Cilenšek.. San Antonio: Southern Music Co. Constantinides. Paris: Gérard Billaudot. 1985. Arranged by Elias Barreiro. Frédéric. 1962. Sonata for Flute and Guitar. Yasha. La servante au bon tabac pour flûte et guitare. Canada: Les Productions D’OZ. 1970's. Bossa bleue contains a few elements that do not fall within level I. Frédéric. Bossa bleue pour flûte et guitare. Michel.Cerruti. 1994. Dallas: Cimarron Music and Productions. including flutter tonguing and one harmonic in the guitar part.

Duncan. Op. Charles. op. Les fleurs pour flûte traversière ou flûte à bec ou violon et guitare ou deux guitares. 1900-1987. CA]: Brazilliance Music. Petite suite médiévale pour flûte et guitare. Paris: Gérard Billaudot. Arranged by Laurindo Almeida. 14 . Emile. Ewers. Castet.Debussy. Paris: Henry Lemoine. Dowdall. Edited by Robert Wolff. [Sherman Oaks. Gabriel. New York: Shattinger International Music Corp. WA: Brazilian Music Enterprises. Baroque Sonatas for Flute and Guitar. Berceuse. Diabelli. Fauré. ed. Sonatine en sol majeur. The guitar parts of these songs use both natural and artificial harmonics. Desportes. 9 Pièces pour flûte et guitare. Dowland. 1982. Arranged by Laurindo Almeida. 1997. [Sherman Oaks. Celtic Collection: Irish and Scottish Folk Music for Flute and Guitar. Emile. Cambridge: Pierrot Press. S. 1 pour flûte et guitare. Francis-Paul. Desportes. Jürgen. Transcribed by François. Demillac. Arranged by Laurindo Almeida. Dentello. The flute part of Luzes and Lendas includes a glissando and a section that can be improvised if desired. Philibert.. Lopez. Four Catalonian Songs. Delavigne. Pastorale joyeuse. Paris: Alphonse Leduc. Rogério. This is a collection of five short homophonic folk tunes that are mostly level I. Claude.I: Brazilliance Music. John. Anton. 1978. Sonatine für Flöte oder Altblockflöte und Gitarre. CA]: Brazilliance Music Publishing. Paris: Alphonse Leduc. 1990. arr. 2000. Fauré. 151. 2 vols. Tunbridge. Transcribed by Jean-Maurice Mourat. 1960. Gabriel.. Danse includes one brief meter change from 3/4 to 6/8. 1984. A few sixtyfourth note figures appear in both parts and alternative tuning of the guitar strings is required. 1994. 2000. Luzes and Lendas. 1983. Danse. 16 for Flute and Guitar.. Vermont: Trillenium Music Co. Frankfurt: Zimmermann. 2001. arr. John and Janice Dockendorff Boland. Transcribed by Arthur Levering. Four Chansons for Women’s High Voice (or Flute) and Guitar. Charles. 1980. NC: Alry Publications. 1900-87. Pastorale melancolique. No. Transcribed by Yvon Rivoal et Georges Lambert. Charlotte. West Los Angeles: Music and Books of California Inc. Transcribed by William Ghezzi. Duncan.

Allegro pour flûte et guitare. 15 . This edition of Sicilienne contains one c-4 in the flute part and one instance of harmonics in the guitar part. 53.. Wiesbaden: Breitkopf and Härtel. 2001. Brazilliance Music Publishing. Zwölf Stücke Op. Foster. Kaspar. Melville. Guitar Fingerings by Edward Flower. 1996. Arranged by Jean-Maurice Mourat. Pièces varies pour flûte à bec et guitare. New York: Franco Colombo. Gatayes. Fauré. duo pour guitare et flûte ou violin. Canada: Les Productions d’OZ 2000 Inc. 2009. 1983. Gabriel. op. 37 für Querflöte und Gitarre. Fauré. Garlej. II The Foster Collection. José. Ballads for Flute and Guitar Vol.. Wilhelmshaven: Heinrichshofen. Freundlich. Guitar Fingerings by Philipe Meunier. This edition of Sicilienne is handwritten.. Paris: Gérard Billaudot. Joseph Hector." Transcribed by Stanley Silverman. Edited by Siegfried Behrend. Paris: Gérard Billaudot. Galles. Charlotte. NC: Alry. One of the pieces opens with a short. Fiocco. Arranged by Janice Dockendorff Boland and John Dowdall. Sechs Duette aus Op. Guillaume Pierre Antoine. Edited by Frank Nagel. The flute range extends to c-4 and the sixth string of the guitar is tuned down to D. Ralph. Frankfurt: Zimmermann. Sicilienne from "Pelléas et mélisande.. David. Inc. 16 für Flöte und Gitarre. unmetered flute solo. Caspar. 1980. Saint-Romuald. Stephen Collins. Guitar Fingerings by Wolfgang Lendle. 5me. Sonata e-moll für Oboe oder Flöte und Gitarre. Fürstenau. Gaudreau. 1900-1979. 1970. Francesco Saverio. 1981. 1978. 1976. London: Tecla Editions. Paris: Editions Henry Lemonie. San Antonio. Bruno and Raùl Maldonado. Sicilienne. 1966. Gabriel. Arranged by Michael Fink. 1985. 1979. Sonate pour flûte et guitare.Fauré. Duos en toutes saisons pour flûte et guitare." Arranged by Laurindo Almeida. and the guitar part contains a few instances of tamboura and rasgueado. TX: Southern Music Co. Five Little Melodies for Flute (or Recorder) and Classic Guitar. Sicilienne from "Pellèas et Melisande. Fürstenau. Geminiani. Edited by Frank Nagel. NY: Belwin-Mills Publishing Corp. Gabriel.

1989. Fünf Aphorismen für Flöte und Guitarre. Edited by Heinz Wallisch. encompassing several solo passages.. Leichte und Vergnügliche Stücke für Flöte (Violine) und Gitarre Op. San Antonio: Creative Music Source. Mauro. London: Schott and Co. Mychal. and tamboura. the guitar part is more challenging. Giuliani. Arranged by Jean-Maurice Mourat.l. Francois Joseph. Pacific. Giuliani. 1970. London: Tecla Editions. 2004. 1993. Frankfurt: Zimmermann. 1994. Originäl Märsche for Flute and Guitar. MO: Mel Bay Publications. Gavotte et tambourin pour flûte et guitare. Adliswi: Pizzicato Verlag Helvetia. Giuliani. Märsche der Verbündeten Mächte (1814) für Querflöte und Gitarre. Edited by Susan Thomas. Giuliani. Two Hearts for Flute and Guitar. 1936. 1985. S. Giuliani. Inc. Ave Maria. Gounod.. 1995. Mauro.J. Qual mesto gemito per flauto o violino e chitarra (quinteteo dalla "Semiramide" di Rossini). Götze. Alice. Paris: Gérard Billaudot. Berceuse for Flute and Guitar. It should be noted that while this is listed as a level I based on the flute part. Mauro. Charles.Gendron. 1979.: Brazilliance Music. Benjamin. Deutsche Volkstänze für Violine (Mandoline Oder Flöte) und Gitarre. Gossec. 1996. Francois Joseph. Walter. Gerhard. Battaglia di Marengo per Flauto e Chitarra. 1981. Divertimento für Flöte und Gitarre. Ltd. Edited by Johannes Klier und Gerhard Braun. harmonics. 1979. Milan: Edizioni Suvini Zerboni.. Edited by Ennio Guerrato. Köln: P. 2000. Enzo. Mauro. 1987. 1984. Vienna: Universal Edition. Brazilian Rondo for Flute and Guitar. Detroit: Little Piper Publications. Giuliani. Saint-Romuald. Arranged by Laurindo Almeida. Arranged by Terry Herald. Aire de gato. Edited by Brian Jeffery. San Antonio: Creative Music Source. 74. Gomez. 1900-93. Edited by Vincenzo Saldarelli. Revised by Giorgio Blasco. Arranged by Stephan Schäffer. Gomez. Godard. Gossec. 16 . Mauro. Paris: Editions Musicales Hortensia. complex textures. Alice. Edited and fingered by Spiro Thomatos. Gieco.. Canada: Les Productions D’OZ 2000 Inc. Munich: Ricordi & Co. Tonger. Tambourin. Mauro. Fritz Christian. Christmas Carols for Flute and Guitar.

Sonata in F Major for Alto Recorder or Flute and Guitar. Arranged by Jean-Maurice Mourat. 7. Oboe. Grétry. Frankfurt: Zimmermann. Arranged by Terry Herald. Sonate in C-Dur für Altblockflöte (Querflöte. Sonate h-Moll (Hallenser Sonate Nr. 1986. Guitar Continuo by Karl Scheit. 2000. No.1. The guitar part uses tablature and chord symbols exclusively. Munich: Doblinger. 11 for Flute (Violin. No. Filippo. 1990. 1990. Edited by José de Azpiazu. Grieg. 1981. Karlsruhe: Edition49.. 2. George Frideric. George Frideric. Sonata Nr. George Friedric. Op. Entr'acte per flauto e chitarra. André Ernest Modeste. Händel. George Frideric. 3) für Querflöte und Gitarre. Sonate D-dur fur Flöte und Gitarre. Oboe. Grétry. 17 . Frankfurt: Zimmermann. Arranged and Edited by Frank Nagel und Philippe Meunier. 1 für Flöte und Gitarre.H. 1978. Edited by Boris Björn Bagger. Lyric Pieces: A Selection for Flute and Guitar. George Frideric. Ancona. No. Sonate en mi mineur pour flûte et guitare. Continuo realization by Allen Krantz. Händel. New York: International Music Co.B.Gragnani. Sérénade aus der oper "L'amant jaloux" for Flute (Recorder. André Ernest Modeste. Italy: Edizioni Bèrben. George Frideric. Edited and Fingered by Jerry Willard. Op. Arranged by Matthias Jakob. Sonate D-Dur Op. Vienna: Doblinger. 1900. Continuo Realization by Karl Scheit. Händel. Händel. Herausgegeben von Karl Scheit. Op. Edited and Arranged by Henner Eppel und Volker Höh. Händel. Händel. 1974. Detroit: Little Piper Press. Händel George Frideric. Händel. Sonata in G-Moll für Altblockflöte (Querflöte. George Frideric. or Oboe) and Guitar. Sonate E-moll für Flöte und Gitarre. 1975. 1988. 1. II (g-moll) für Flöte und Gitarre. 1.. 1967. George Frideric. 1994. Violine) und Gitarre. Paris: Gérard Billaudot. New York: Ariel Publications. Edvard. Granados. Sonata in F Major. “Air” from Water Music. George Frideric.M. Händel. Munich: Karthause Verlag G. New York: Hermes Records. Violine) und Gitarre. Continuo Realization by Michael Buchrainer. 1987. Vienna: Doblinger. Wiesbaden: Breitkopf and Härtel. Basel: Barenreiter Kassel. 1981. Vals del Olvido (Waltz of Forgetting) for Flute and Guitar. 8. No. 1999. Marco. Violin) and Guitar. Händel.

Istvan. Paris: Editions Combre. R. Op. Esko. Herald. Valse en sol pour flûte et guitare. What Child is This (Greensleeves). Lyon: Editions Notissimo. opus 205. Nocturne Op. 1981. Hommage à Stanley Myers Op. Frankfurt: Zimmermann. The majority of the piece is simple enough to qualify as level one. Kaspar. 2003. Maurice. 1992.l. Saint-Romuald. Allegro Op. Caprice. 18 . 1968. Saint-Romuald. Terry. Kleynjans. however there are a few instances of two-against-three rhythms and two appearances of b-6 in the flute part. Komter. Edited by Frank Nagel. 2004. Canada: Les Productions D’OZ 2000 Inc.. 1989. Kreutzer. Krähmer. Amsterdam: Donemus. 1973. 1991. 29 pour flûte et guitare. Herman. Finland: Finnish Music Information Center. Küffner. Johann Ernst. S. Amsterdam: Broekmans & Van Poppel. opus. 49. Pascal. 1999. Kummer. 1981. Francis. J. 2004. Jugy. The flute part of this work contains a short cadenza. Canada: Les Productions D’OZ 2000 Inc. Vingt chansons populaires roumaines pour flûte de pan ou flûte à bec et guitare. Helsinki.: Brazilliance Music. arr. The guitar part of Impression calls for harmonics. Impression for Flute and Guitar. 187e. 1987. Kuvia Luonnosta. Serenade für Querflöte und Gitarre. Kleynjans. Berlin: Edition Margaux. Fagott) und Gitarre. Andante in D requires the guitarist to tune the e string down to d. Arranged and transcribed by Laurindo Almeida. 1900’s. 1985. Jan Maarten. The guitar part of Kuvia Luonnosta includes a few instances of harmonics. Wolfenbüttel: Möseler Verlag. Heuckeroth van. 5 Fantasien für Sopranblockflöte (oder Anderes MelodieinstrumentFlöte. Paris: Alphonse Leduc. Horvath-Thomas. Detroit: Little Piper. Vasile. Oboe. Joseph. 203 et Reethi Beach. Hessen. Harrus. Violine. Au bord du lac. voor fluit of viool en gitaar. Francis. 40 for Flute and Guitar.Hartikainen. Rodolphe. Serenade für Flöte und Gitarre. Berlin-Lichterfelde: Schlesingersche Buchu Musikhandlung.. Andante in D.

Paris: G. and the fifth string to g and a. Loeillet. Flute part edited by Cathy Collinge Herrera. New York: Ariel Publications.n. Marchelie. Budapest: Edito Musica. Bent and Jan Sommer. Thomas. New York: Edition Musicus New York. Fingered by Seppo Siirala. Nocturne for Flute or Tenor Recorder or Oboe and Guitar. Arranged by Claudio González Jiménez. 6 Piezas Sobre Temas Medievales Andaluces. The guitar part to Tambourines uses harmonics and tamboura. Chants du soir. Lully. El Grillo. Suite e-moll für Oboe oder Flöte und Gitarre. Malinowski. 1981. Frankfurt: Zimmermann. 12/8. 1982. Canada: Les Productions D’OZ 2000. Original pour trois violes. The flute part of Romance contains a range that extends to c#-4 twice. Quinto.. Arranged by François Castet. 19 . 1984. Distilled Excelsior for Flute and Guitar. Inc. Ballets du roi: gavotte en rondeau: flûte et guitare. 1972. Benedetto. Budapest: Editio Musica. The flute part in this collection contains one short solo/cadenza. Saint-Romuald. Charlotte.1999. Jean Baptiste. Serenades and Amusements: Merry Pieces from the 19th Century for Flute and Guitar. 1956. Loeillet. 2006. Stephen. 2) per flauto e chitarra. and 3/8 meters in the third. and Frank Hill. The guitar writing calls for harmonics and requires tuning the sixth string to d and e. Erik. Maganini. Mélodie Nocturne and Intermezzo. Juha. Barcelona: Boileau. and Jean-Maurice Mourat. Tambourines. Francisco Javier. 1988. Immanuel. 1970. Lezcano. Paris: Alphonse Leduc. Mace. Jean Baptiste. Stephen. This sonata uses 3/2. Romance. NC: 1995. Sonata in G Minor for Alto Recorder or Flute and Guitar. 1980. 1974. La Romanesca. Copenhagen: Edition Wilhelm Hansen AS.. ed. 1978. 1996. Malinowski. S. Leinonen.n. Helsinki. arr. Edited by Dániel Benkõ. arr. 1974.l: s. Jose.. no. López Rodríguez. Lucchesi. Benedetto. Billaudot. Sonate a-moll: für Flöte mit Gitarre =A Minor: for Flute with Guitar. Edited by Dániel Benkõ. Marcello.Larsen. fourth. S. 2.l: s. Leipzig: Deutscher Verlag Für Musick. Marcello. and fifth movements respectively. Finland: Chorus Publications. Prélude. Jean-Baptiste. Sonata in re minore (op.

Manchester: Forsyth Brothers. 1993. “Variazioni su un tema di R. Jean Joseph. some hemiola patterns challenge both players. Deep Love of Jesus for Flute and Guitar. Paris: Billaudot. 1992. The guitar part of Suite populaire espagnole contains rasgueado. Paris: Gérard Billaudot. Transcribed by Georges Lambert et Yvon Rivoal. Martini. 4 en la major op. ed. ed. Pièces classiques volume 1 pour flûte et guitare. Nicholas. Evocación y Joropo includes one instance of changing meter. 1982. Oh. 2004. Anderson. 2002. Mendelssohn-Bartholdy. Canción de amore pour flûte et guitare. Arranged by Arthur Levering. 7 piéces elizabéthaines pour flûte et guitare. David L. Mourat. Rondeau. 20 . Madrid: Union Musical Espanola. IN: Intrada Music Group. 1988. Mourat. Giambattista. Paris: Editions Combre. 90. Pièces classiques pour flûte et guitare. Jean-Maurice. 1973. ed. Mourat. The Deep. A Playford Garland for Recorder (or Flute) and Guitar (or Keyboard). José Luis. Towner.” Padova: Armelin Musica. MI: Little Piper Publications. Mendelssohn-Bartholdy. 1992. 2003. Tema del andante: de la sinfonia no. Jean-Maurice and Robert Hériché. 1987. [Tampa]: Tuscany Publications. Arranged by Terry Herald. Paris: Gérard Billaudot. 1986. Chansons sans paroles et pièces pour flûte et guitare. 1998. This includes movements that are designated for either piccolo or descant recorder.. 1988. 2005. Paris: Gérard Billaudot. Paris: Gérard Billaudot. Jean-Maurice. Gavotte for Flute and Guitar. Marshall. Félix. arr. Paris: Editions Henry Lemoine. Milanese. Paris: Editions Max Eschig. McIntyre. Merlin. Suite populaire espagnole: issue du folklore: [pour] flúte et guitare. Valse pour flûte et guitare. Evocación y Joropo: de la Suite del recuerdo: para flauta o violón y guitarra. Italiana. Mourat.Marchelie. Additionally. Mourat. Darius. Milhaud. Jean-Maurice. Felix. Jean-Maurice. 1970. Detroit. Corcovado pour flûte et guitare. Mouret. Luigi. Guitaromanie editions. Erik. New York: Shattinger International Music Corp. The guitar part of Valse contains one instance of harmonics. Ltd.

1972.. arr. PA: Theodore Presser Co. Violine) und Gitarre. MA: Pierrot Press. Edited by Werner Kämmerling. Myers. and Adalbert Gyrowetz. Caracas.Moyse. 525. Concert Selections for Guitar and Recorder or Flute. Music for Flute and Guitar. Rondo. Little Pieces for Flute and Guitar. New York: G. Mozart. Cavatina for Flute and Guitar. Colección Autores Latino Americanos para flauta. Leopold Kozeluch. MO: Mel Bay Publications. Schweizer Serenade op. Wolfgang Amadeus Minueto de la "Serenata". Mozart. 29/ Variationen über den “Sehnsuchtswalzer” von Schubert. "Pequena musica nocturna": para flauta dulce y guitarra (flûte à bec et guitare)=(Recorder). 1984. E. Wolfgang Amadeus. 2: from Five Divertimenti for Two Clarinets and Bassoon. Suita ve starém slohu: flétna (housle) a kytara. Sainz de la Maza. Op. among them one c-4 in the flute part and one meter change from 3/4 to 6/8. Blockflöte). Skladby českých mistrů: housle (flétna) a kytara. K. 2006. Oboe. y flauta y piano. Some of the easier pieces in Concert Selections contain ossia parts for more advanced students. K. Frank. v.J. Guitar Part Revised by Milan Zelenka. Cambridge. MO: Mel Bay Publications.] 439b. Venezuela: Fundación Vicente Emilio Sojo. Pacific. ed. 1982. Schirmer. 1995. Naranjo. 1971. Mullen.e. Bryn Mawr. Madrid: Union Musical Espagnola. Transcribed by Arthur Levering. Stanley. 1979. K. Obrovská. [i. José Antonio. Presser Co.2. Wolfgang Amadeus. flauta y guitarra. The violinistic origin of this piece is evident in the presence of double stops and some low range writing that must to be taken up an octave to be played on the flute. Rodenkirchen/Rhein: P. Kent and Larry Hamberlin. Mozart. Wolfgang Amadeus. Tonger Musikverlag. Mozart. 2005. 21 für Klarinette (Flöte. 2001. 21 . PA: T.6: für Flöte (Violine. Oboe) und Gitarre. 485. Jana. Divertimento No. Bryn Mawr. Praha: Editio Supraphon. 1977. Murdick. 1981. Mysliveček. 1970. Music for Flute and Guitar contains certain elements beyond level I. Arranged and Edited by Christian Taggart. Transcribed by R. Praha: Supraphon. Vienna: Doblinger. La flauta en Venezuela: seis obras populares: para flauta sola. Wiener Sonatine Nr. Pacific. Transcribed by John Patykula. Heinrich. and Raimundo Pineda. Louis. ed. Josef. Edited by Karl Scheit. Neumann. for Flute and Guitar.

Two Old Melodies for Flute and Guitar. Sonata in D Minor. & a. Detroit: Little Piper Publications. Henry. Ralf. Schirmer. Pachelbel Canon for Flute and Guitar. Pielsticker. Poulenc. Pilsl. IA: Boland-Dowdall Duo. Pergolesi. Arranged by Terry Wood. Romanze für Flöte und Gitarre. PA: Theodore Presser Company. Emile. Transcribed by Jean-Maurice Mourat. Pessard. Arranged by Daniel Dorff. Paris: Gérard Billaudot. 1980. 1998. 1987. Pielsticker. This work requires the guitar’s sixth string to be tuned to D. Transcribed by Arthur Levering.Pachelbel. Detroit: Little Piper Press. Siciliano pour hautbois ou flûte et guitare. 1981. sicilienne. 1970. Henry. 1992. Purcell. Giovanni Battista. This edition of Pachelbel’s Canon is listed as a level I because the flute range only extends to d-4. San Antonio: Southern Music Company. Purcell. Pierre-Joseph. Francis. London: Chester Music. Johann. Purcell. 1988. Duettino for Oboe or Flute and Guitar. Henry. Arranged by Terry Herald. Köln: Pycrus Edition. Petrov. Andalouse. Köln: Pycrus Editions. Plouvier. Purcell. King of Prussia. The other editions of this work listed as level II contain a range that extends to c-4. Henri C. Trumpet Voluntary in D Major. Daniel. Romanze für Flöte und Gitarre. 1984. Frankfurt: Zimmermann. Ancona: Bèrben. Amsel-Melodien für Flöte und Gitarre. Detroit: 1988. 22 . 1965. OH: Editions Orphée. Giovanni Battista. 2002. Columbus. Paris: Editions Max Eschig. 2. 1979. Baroque and on the Street: Rondeau Minuet from “The Gordian Knot United. Edited by Giovanni Gatti. Trois sérénades: composées de thêmes. Tre pezzi per flauto e chitarra. Ralf. valses et variations. Henry. No. Andrei. 1992. 2000. Trumpet Tune in D Major. Sicilienne pour flûte et guitare. polonaises.” New York and London: G. Praag. Paris: Gérard Billaudot. Purcell. Arranged by Michael Fink. Guitar Part Edited by Peter Segal. Purcell. Marion. 1982. Transcribed by Barna Kovats. Henry. Fritz. 1985. The first dance of this suite employs 3/2 meter. rondeaux. 1980. Pergolesi. van. Suíte de danses pour flûte et guitare. Mouvements perpétuels. Adapted for Flute and Guitar by Terry Herald. Amsterdam: Broekmans and Van Poppel.

1977. 1981.n. Erik. Alternative flute part by Ulf Malmberg. Yvon and Georges Lambert. MI: Little Piper.d. Sonatina de Primavera for Flute and Guitar. 1981. Erik. Friedrich Vieweg Musikverlag. some of which (g-3 to c-4) must be taken up an octave. VA: Guitar Editions. Gymnopédies No. 1996. 2004 Rupert. Rivoal. Two glissandi are included in the flute part.l. Greensleeves pour flûte et guitare. Transcribed by Arthur Levering. Byrn Mawr. 7 chants et danses du XIX siècle pour flute et guitare. Edoardo e Cristina Ouverture. Originally for violin. 1976. Erik. Satie. The guitar part of this work requires natural harmonics in the opening section. Sonatina de primavera contains meter changes from 2/4 to 6/8 in the second movement. Pellerite. Chris. 2002. Arranged for flute and guitar by Konrad Ragossnig.. 1973. Ravel. Rossini. Maurice. Bologna: Ut Orpheus Edizioni. 2002. Gioachino. Lambert. PA: Theodore Presser. Transcribed by James J.Radaelli. Yvon and Georges Lambert. Roman. 1996.: s. Satie. 23 . Johann Helmich. Pièce en forme de habanera. 1 and 3 for Flute and Guitar (or Harpsichord/Piano). Ross. Petite milonga pour flûte et guitare. n. Transcribed by Ferdinando Carulli. Bloomington. Carlos. Ramón. Prelude for Guitar and Flute. Maurice. Paris: Henry Lemoine. arr. Edited by Hans Neeman. Walter. Continuo Realization by Harald Söderberg. Pavane pour une infante defunte. Arranged by Terry Herald. 1999. Charlottesville. 1992. Three Gymnopédies for Flute and Guitar. arr. Frankfurt: Zimmerman. Paris: Editions Musicales Transatlantiques. Gymnopédie No 1 [No. Paris: Henry Lemoine. S. Rust. Paris: Editions Henry Lemoine. Cambridge: Pierrot Press. Ravel. Satie. Friedrich Wilhelm. Rivoal. Detroit. this piece demands a range of g-3 to d-6. IN: Zalo Publications. Huit petites valses pour flûte et guitare. Carlos. Sonate E-Moll für Flöte und Basso Continuo. Transcribed by Janet Ketchum and Peter Segal. Sonate G-Dur für Laute (Gitarre) und Violine (Flöte). for] Flute and Guitar. Berlin-Lichterfelde: Chr. 1987. Edited by Ervin Monroe. Paris: Alphonse Leduc. 3.

Armin. 1979. 1982. Arnolt. 1982. arr. Arranged by Mary Criswick. 1982. Erik. Frankfurt: Zimmermann. Long. 1983. Guitar adaptation by Robert Candler. Schmidt. arr. Oboe. Moderato für ein Melodie Instrument und Gitarre. 1985. Schmidt. the sixth string of the guitar is tuned to D. Three Gymnopédies: (Ceremonial Dances) for Flute (Recorder. 1977. Schmidt. Armin. Paris: Alphonse Leduc. Arranged by Johannes Klier. Three Gymnopédies for Flute and Guitar. Schmidt.Satie. ed. Schmidt. Violin) & Guitar. Schmidt. Trois gnossiennes for Two Guitars or Flute and Guitar. 1978. New York: Continuo Music Press. Rochester. 24 . Frankfurt: Zimmermann. Tampa FL: Tuscany Publications. 1969. Tabulaturen etlicher Lobgesang und Lidelein: (1512): per flauto e chitarra. Violine) und Gitarre. ed. Arranged by Richard M. Frankfurt: Zimmermann. The flute parts contained within this collection include two instances where the range reaches to c-4. Armin. Satie. Frankfurt: Zimmermann. Frankfurt: Zimmermann. Grazioso: Acht Vergnügliche Stücke für ein Melodie-Instrumente (Flöte. arr. Erwin. Frankfurt: Zimmermann. Windows. Schickele. Musik aus Italien für ein Melodie-Instrument (Flöte/Oboe/Violine) und Gitarre. Frankfurt: Zimmerman. Die Fischer für ein Melodie-Instrument (Flöte/Oboe/Violine) und Gitarre. MI: Piper Press. The guitarist must tune the third string to f#. 1968. Armin. 1987. Klingende Klassik für ein Melodie Instrument und Gitarre. Sauguet. arr. In this edition of Three Gymnopédies. This work contains one instance of c-4 in the flute part. Henri. Vienna: Ludwig Dobliger. Oboe. London: Fentone Music. Armin. Schaller. Rhythmically. barlines are not lined up accurately to reflect the meter. Transcribed and Edited by Ervin Monroe. Erik. 1980. Celle: Moeck Verlag. presumably because the work has been transcribed from tablature. Armin. arr. Three Pieces for Viola (or Flute or Clarinet) and Guitar. Musik aus Frankreich für ein Melodieinstrument (Flöte/Oboe/Violine) und Gitarre. Schmidt. Six pièces faciles pour flûte et guitare. Peter. arr. Aus Ostpreussens Vorklassik 16 Sätze für ein Melodieinstrument und Gitarre. Armin. Satie. 1983. 1976. Greensleeves to a Ground: Variationen über ein Englishes Volkslied für Sopranflöte und Gitarre. Schlick. Erik.

Schmidt. 2002. 1987. Quindici danze originali per flauto o violino e chitarra. Air und Bourrée for Recorder and Guitar. Dances from the Enchanted Forest for Flute and Guitar. 1990. New York: Edu-Tainment Publishing Co.. Tárrega. Arranged by Karl Scheit. Fabbriciani e V. Schubert. 1986. Vienna: Universal Editions. 25 . 1977.Schmidt. Edited by R. Jenö. 1990. 1962. 1973. Rondo für ein Melodie Instrument (Flöte. Transcribed by Arthur Levering. Tchaikovsky. Charlotte. Dances contains one instance of “golpe” in the guitar part. Frankfurt: Zimmermann. 1973. Original Tänze für Flöte oder Violine und Guitarre. Songs for Flute with Guitar Chords. Armin. Frankfurt: Zimmermann. Wein: Universal Edition. Susato. Armin. arr. SaintRomuald. Frankfurt: Zimmermann. Telemann. ed. 1992. Sor. 2006. Telemann. Arranged by Anthony Campanella. This work requires the guitar’s sixth string to be tuned to D. Simon. The average difficulty of the ten short pieces contained in this work is level I. Edited by Siegfried Behrend. Francisco. Romanze für Violine (Flöte) und Gitarre oder für Zwei Gitarren. Schubert. NC: Alry Publications. Violine) und Gitarre. Pause für ein Melodie-Instrument (Flöte/Oboe/Violine) und Gitarre. The flute parts in this collection extend down to c-4. Ganz leichte (und nicht so leichte) Stücke für Sopran-oder Altblockflöte (Querflöte) und Gitarre. London: Chester Music. Wilhelmshaven: Edition Heinrichshofen. 1981. Fernando. Oboe.. New York: Spanish Music Center. Franz. Canada: Les Productions d’OZ 2000 Inc. Peter Ilyich. Recuerdos de la Alhambra. Takács. Arranged by Garth Baxter. Stravinsky. 1977. but there are a few places where thirty-second notes are featured. Saldarelli. Georg Philipp. Paul. Robert. Shaughnessy. June: Barcarolle for Flute and Guitar. Four Pieces for Flute (or Violin) and Guitar. Igor. Franz. Edited by Dániel Benkö. Sonata in A-Moll für Oboe (Oder Flöte) und Gitarre. Wien: Dolinger. Milan: Edizioni Suvini Zerboni. Reneszánsz táncok: danserye címü győjteményéböl 1551. Georg Philipp. 1981. Budapest: Editio Musica Budapest. Guitar fingerings by Christian Horvath. Tielman.

6 for Violin (or Flute) and Guitar. Antonio. Sonata in fa maggiore per flauto e chitarra-continuo. Padova: G. Sonate in C Major for Alto Recorder or Flute and Guitar. Tomasi. Telemann." Edited by Siegfried Behrend. Continuo Realization by Andrea Sciola-König. Vivaldi. Vienna: Ludwig Doblinger. Ancona. Nr. Toselli. Udine. Paris: Alphonse Leduc. Telemann. 1978. 1988. New York: Ariel Publications. Telemann. Verträumte Stücke für Flöte und Gitarre. Italy: Bèrben. Henri. Frankfurt: Zimmermann. 1975. 1981. Vivaldi. Arranged by Jean-Maurice Mourat. 2003. Francesco Maria. Originally conceived for violin. Continuo realized and fingered by Jerry Willard. The guitar part contains harmonics and features an introductory solo. Georg Philipp. Transcribed by Lino Vianello. Zanibon. Georg Philipp. Guitar Continuo by Karl Trötzmüller. Antonio. Op. Padova: Edizioni G. Georg Philipp. Largo as er Sonata Op.Telemann. Paris: Gérard Billaudot. Walter. 1986. Sonate in F-Dur für Altblockflöte (Querflöte) und Gereralbass (aus “Der Getreue Musikmeister” Hamburg 1728). Enrico. 1983. 6 für Violine solo (Flöte) und Basso Continuo. San Antonio: Southern Music Co. Georg Philipp. Georg Philipp. Guitar Continuo by Lino Vianello. 1952 and 1983. Sonata in la maggiore per flauto (o violino) e basso continuo.. 1992. 2005. Zanibon. Viozzi. Le petit chevrier corse pour flûte et guitare. 2. Theisinger. Veracini. Sonata a flauto solo e basso realizzata per flauto e chitarra. Manching: Edition Dux. Vivaldi. 1961. Edited by Antonio Membrando. Swing of Delight. 2005. Sonate C-Dur für Blockflöte und Gitarre aus "Der Getreue Musikmeister. Sonata en do pour flûte et guitare. Romanze Op. Largo. Edited by Karl Scheit. Antonio. Le petit chevrier corse includes meter changes from 3/4 to 6/8. 1979. PA: Theodore Presser/Tuscany Publications. Telemann. Villinger. Alexander. Edited and Arranged by Richard M. 1997. Italy: Edizioni Musicali Pizzicato. 26 . 1980. Arranged by Jean-Maurice Mourat. King of Prussia. Vivaldi. 4 für Flöte (Violine) und Gitarre. Serenata. Remscheid: Waldkauz. Giulio. Long. Paris: Gérard Billaudot. Vienna: Doblinger. Antonio. Concerto en sol mineur pour flûte et guitare. “Ninna Nanna” per flauto e chitarra. the flute transcription reaches to b-3. Arranged for flute and guitar by Michael Fink and Arthur Ephross.

Zabrack. ed. Vienna: Doblinger.Weiss. Combre. Kleine Suite für Flöte und Gitarre. Aus alten Lautentabulaturen: 24 Originalsätze des 16. calling for both thirty-second and sixty-fourth note runs. Three Pieces for Guitar and Flute. Paris: Editions L Philippo and M. Westbury.Violine) und Renaissancelaute oder Gitarre. 1984. Harold. 1964. 1989. Wilhelmshaven: Noetzel Edition. 1984. und 17. Wensiecki. 1981. Jahrunderts für Altblockflöte (Querflöte. NY: Kenyon Publications. Romain. Christmas for Flute & Guitar. 27 . The first two of these pieces qualify as level I but do contain 2/2 meter. The third is more challenging. ed. Ferdinand. Kleine Suite contains 3/2 meter. Edmund. Worschech. Edited by Karl Scheit. 12 grands classiques transcrits pour flûte a bec et guitare ou flûte traversière ou melodic ou violon ou mandole et guitare. New York: Amsco Publications. Jerry. Willard. 2 vols.

however few meter changes from simple to compound or the reverse may be incorporated into the works. and falls. Meter changes typically stay within simple or compound meter.LEVEL II Flute pitch range: The flute part uses a ranges from c-4 to c-7 and includes some use of leaps of up to an octave. Technical passages contain mainly scalar and/or arpeggiated patterns. ritardandos. etc. 3/4. mordents.). diminuendo. rasgueado. 4/4. Guitar texture: The guitar part primarily contains chordal and arpeggiated material but also contains more frequent melodic material than in level I. Flute and guitar rhythmic complexity: Rhythms may contain all rhythmic values and their combinations. Flute and guitar dynamic range: Dynamics used may include the full range of dynamic variety. etc. 28 . sforzandos. Ornamentation is used moderately to frequently and at times obscures the rhythms. grace notes. turns. 3/8. 12/8. Textures are primarily homophonic with mostly flute melody and guitar accompaniment but at times the guitar may become the melodic instrument. Flute and guitar ornaments: Ornaments used include trills.). Ensemble texture/rhythm: Both parts contain mostly complementary rhythms with a few instances of two-against-three or three-against-four. crescendos. syncopation. Guitar extended techniques: Guitar extended techniques are used infrequently and may include harmonics (natural and artificial). simple meters (2/4. Solo sections also may be used for either instrument. accelerandos. Retuning of specific guitar strings may occur. Meters may include: cut time. and tamboura. forte-pianos. Tempos change more frequently than in level I and accelerandos and ritardandos are also used more frequently than in level I. and/or compound meters (6/8. 5/4. and tempo changes. Flute extended techniques: Flute extended techniques are used infrequently and may include glissandi or flutter tonguing. Dynamics change more frequently than in level I.

Lawndale. 1983. Joachim. Marion. Johann Sebastian. 1990. Productions. 1999. Joan Albert. Edited by Helmut Schaller.Alexander. arr. Guitar part edited by Kenneth Calhoun. William. Choix d'airs pour une flûte avec accompagnement de guitare de l'opéra Zanetta 29e. 1958. Steinke. Andante from the Italian Concerto for Oboe. 1995. Andrews. Paris: Henry Lemoine. S. 55. Sonate basque pour flûte ou violon et guitare. Mass for Flute and Guitar. [Jacksonville. 1999. Sonate für Flöte und Gitarre in D-dur.: Jim Roberts. Arranged by Rudolf Buttmann. Carl Philipp Emanuel.D. Amargós. Celtic Music for Flute and Guitar. Daniel François Esprit. Babell. Ralph. Flute. Azpiazu. Wiesbaden: Breitkopf and Härtel. Bach. World Music for Flute and Guitar. Edited by Klaus Jäckle and Boris Björn Bagger.l. 1900. 3 vols. Carl Philipp Emanuel. Allerme. Arranged by Jim Roberts. Wein: Ludwig Doblinger. or Violin and Guitar. IA: Dowland Editions. and Jessica Walsh. Bach. Lawndale. Arranged by A. 1991. Frankfurt am Main: Zimmermann. Bach. 2000. Guitar continuo by Wolfgang Jungwirth. Jean-Marc. Auber. 8 Miniatures: Op. Toronto.. Carl Philipp Emanuel. 2000. Flute-guitar facsimile series. This is a three-volume collection of forty-five short jazz-inspired pieces. Foriet. 1988. CA: ADG Productions. Anderson. Bach. San Antonio: Southern Music Co. CA: A. 1996. Each volume comes with a compact disc that includes recordings of the pieces. Sonate G-Dur Hamburger Sonate für Flöte (Oboe. José.G. 1974. Allan. Flute and Guitar Stories: Original Pieces for Flute and Guitar. Fla. Transcribed and edited by Greg A. Sonata in G "Hamburger" W. Tango català: flauta i guitarra.?]: R. 29 . arr. Hamburger Sonate in G-Dur. Wein/München. Sonata III für Sopranblockflöte und Basso Continuo. Carl Philipp Emanuel. Ontario: Acoma Nambe Editions. Violine) und Gitarre. Ralph Andrews’ Mass for Flute and Guitar can be obtained through Potter's House of Music in Jacksonville Florida. Edited by Karl Scheit. Bach. Bühl: Antes Edition. Andrews. 133. Realized and Edited by Gerald Klickstein. 1996. along with play-along recordings of the separate flute and guitar parts. Alexander. Barcelona: Catalana d'Edicions Musicals. Allan.

Edited by Ferdinand Uhlmann. 30 . Transcribed by Konrad Ragossnig. San Antonio: Southern Music Company. 1991. MI: Piper Press. Johann Sebastian. 1981. Baksa. 2002. Edited and Arranged by Christoph Jäggin. Arranged by Gerd-Michael Dausend. 2001. Paris: Gérard Billaudot. Johann Sebastian. 1982. Johann Sebastian. Transcribed by Terry Herald. 1997. Arranged by Boris Björn Bagger. Frankfurt: Zimmermann. Bach. Pacific. Bach. Johann Sebastian. Largo aus dem Cembalokonzert BMV 1056 für Violine (Flöte) oder Violoncello und Gitarre. Bach. Johann Sebastian. 1999. Bach. 1995. Robert. and George Frideric Händel. Johann Sebastian. Arranged by Michael Langer. 3. Sonata in C Major BWV 1033. Bryn Mawr. Sonate e-Moll für Flauto Traverso und Basso Continuo. Arranged by Claudia Anderson and Sylvana Scarinci.S. Frankfurt: Musikverlag Zimmermann. Detroit: Little Piper Publications. Frankfurt: Zimmermann. Deux largos pour flûte et guitare. Celestials for Flute and Guitar. Bach. 1033-1035). Johann Sebastian. Arranged by Spiro Thomatos. Sonatas for Flute and Guitar (BWV 1031. Johann Sebastian. Arranged by Jean-Maurice Mourat and Robert Hériche. French Suite No. Bach. Vienna: Doblinger. 1975. Johann Sebastian. 5. Johann Sebastian. Bach. MO: Mel Bay Publications Inc. 1996. Sonata in C Major for Flute and Guitar. Budapest: Editio Musica. Bach. Sonate no. PA: Theodore Presser.M. Bach. PA: Theodore Presser Co. 4 en ut majeur pour flûte (violon) et guitare (basse continue). 1985. Edited by Kevin Dolan. Johann Sebastian. Arranged by Joseph Hagendorn. Bach. Edited by Benkó Dániel.. Bühl/Baden: Antes Edition. 1989. Three Sonatas by J. Detroit. Sonate c-dur BWV 1033 for Flute (Alto Recorder) and Guitar. Sonate III in E-Dur BWV 1035 für Flöte und Gitarre. Bach. Johann Sebastian. 1997. Johann Sebastian.Bach. Bach. Bryn Mawr. Sonate 1 für Flöte und Gitarre. Edited by Ervin Monroe. Bach. Johann Sebastian. 1979. Arranged by G. Bach for Flute and Guitar. 1978. Violin) and Guitar. Suite a-moll BWV 997.. Bühl/Baden: Antes Edition. 1969. Flute edition by Ervin Monroe. Wiesbaden: Breitkopf and Härtel. Sonate E-Dur für Flöte und Gitarre. French Suite No. Paris: Editions Max Eschig. Guitar Adaptation by Robert Caendler. Johann Sebastian. Frankfurt: Zimmermann. Arranged by Klaus Jäckle. Bach. Dausend. Siciliano for Flute (Oboe. Johann Sebastian. 1992. Bach.

1980. Piano Sonata op. Con un minuetto für Flöte and Gitarre. e traverso. Arranged by Anton Diabelli. Canada: Les Productions D’OZ 2000 Inc. Beethoven. Canada: Les Productions D’OZ Inc. Edited by Ruggero Chiesa. Cello and Piano Op. This piece is a collection of excerpts from the works of Beethoven including Symphony No. Royal Oak. 2009. 4 Tributes pour flûte et guitare. Frankfurt am Main: Wilhelm Zimmerman. 1997. Schweinfurt: Verlag Vogt & Fritz. Transcribed by Kees Dirkx. Benker. Edition for Flute and Guitar. Miscellanea per flauto e chitarra. Robert. Bassi. Herbert. Ludwig van. Allegretto für Flöte und Gitarre. 2 and Trio for Violin. Beauvais. Violin Sonata op. Wiesbaden: Breitkopf and Härtel. Wien: Universal Edition. Vincenzo.. Berlin and Wiesbaden: Bote and Bock. Sonata for Flute and Guitar. Michigan: Flute Club of America. 1986. 1983. Edited by Stephan Schäfer. Duetto g-dur à liuto. 4. Sonate für Flöte und Gitarre. Transcribed and edited by Philippe Meunier. Becker. Symphony No. Sept ariettes pour flûte et guitare.. 2006. 3. New York: Universal Editions. 1998 Baumann. Pot-Pourri für Flöte (Violine) und Gitarre. 1970. Sonata in G Major. Saint-Romuald. Praha: Amos Edition. Holmer. Paris: Editions Henry Lemoine. 1961. 2002. Arranged by Dennette Derby McDermott and Mark Francis. William. Bevilacqua. 1988. Bathioli. Francesco. Op. Ernst Gottlieb. 28. 1982. Milan: Edizioni Suvini Zerboni. Franz. Dance Suite. Mathieu. Legnaniana Konzert für Flöte und Gitarre mit Streichorchester. Essen: Hubertus Nogatz. Bellini. Roumanian Folk Dances. New York: Composers Library Editions. Heinz. Baumann.Baksa.J. Holland: Muziekuitgeverij Van Teeseling. 2002. 38. Sieben Szenen für Flöte und Gitarre. Transcribed by Georges Lambert and Yvon Rivoal. Arranged by Arthur Levering. Another edition of this work is listed under Anton Diabelli. Siegfried. Nijmegen. Sonatina Burlesca für Flöte und Gitarre. Bartók. Benda. Milan: Carisch. 5 per flauto e chitarra. 1996. 1986. Tonger Musikverlag. attrib. Saint-Romuald. William. Grandi variazioni concertanti sul tema "An Alexis send ich dich" op. Herbert. Köln: P. Béla. Baron. 2001. Ernst Gottlieb. Adriano. Sonata in G-Major for Flute and Guitar. Behrend. Beauvais. 24. 1 No. 1974. 31 . Baron.

John G. Wiesbaden: Breitkopf and Härtel. and John Dowdall. Janice Dockendorff. This collection contains four. Theobald. 1989.W. Braun. Shadow Tree is a twelve-tone work. 3. Günter. Nashua. 1970-79. Peters Corp. 2. New York: C. Allen. 2004. Huit pièces transcrites pour flûte traversière et guitare ou flûte à bec et guitare ou deux guitares. Boettelier. and 6. S. Arranged by Marino Martino. This collection of six-virtuosic opera arias includes: 1. Frankfurt: Zimmermann.H. Michel. 4.Bilotta. 2001. Pietro. 2. Giulio. 1992. Bottesini. Paris: Editions Henry Lemoine. Blavet. CT: Mira Music Associates. 1979. Edited by Siegfried Behrend. Edited by Gian-Luca Petrucci. Amasia pour flûte ou violon. Sonatine für Oboe (oder Flöte) und Gitarre. Eugène. “Cavatina nell'opera Nitocri” by Saverio Mercadante. Bologna: Ut Orpheus Edizioni. Frankfurt: Zimmermann. 2000. Amsterdam: Broekmans and Van Poppel. 1979. 5. ou clarinette si-flat et guitare. Fünf Miniaturen für Querflöte und Gitarre. "Cavatina Se il Fato Barbaro nell'opera Romilda e Costanza" by Giacomo Meyerbeer. 1998. Sonatina for Flute and Guitar. Boutros. N.: Falls House Press. Boehm. Boland. 1996. Sonate VI für Flöte und Gitarre in A-Moll op. 6 arie d'opera trancritte per flauto e chitarra. Bilotta. 32 .. An Impromptu for Alto Flute and Guitar. Brings. Michel.: John G. Paris: Alphonse Leduc. Arnold. Blavet. 1977. Meyerbeer. Trois pièces pour flûte et guitare. “Aria Io Godro nell'opera Antigona e Lauso" by Stefano Pavesi. rather illegible facsimiles of works by Hummel. arr.F. and Auber. Paris: Alphonse Leduc. Andantino con Variazioni über ein Thema von Niccolò Paganini für Querflöte und Gitarre. "Cavatina Era Felice un Di nell'opera Andronico" by Saverio Mercadante. Briccialdi. The flute part of Trois pièces extends down to b-3. Bozza. Laurent. Edited by Ferdi Uhlmann. “Fête des oiseaux” Kleine rapsodie voor fluit en gitaar. Paris: Billaudot. Transcription by François Castet. Cesar. Bresgen. Shadow Tree. "Aria Mi Vieta fin di Piangere nell'opera Nitocri" by Saverio Mercadante. Ina. Flute and Guitar Facsimiles from the Romantic Salon (Facsimile Edition). Arranged by Jean-Maurice Mourat. 1979. F. Wilton. 1979. “Aria nell'opera Ciro in Babilonia” by Gioachino Rossini.l. Nel cor piu for flûte et guitare.

CA: Caliendo Music Publishing. Toluca Lake. Caliendo. Christopher. 2003. CA: Caliendo Music Publishing. 2. Los Angeles: Caliendo World Publishing. Los Angeles: Caliendo World Music Publishing. The flute part of Acariciame extends to b-3. Christopher. Maurice. Impromptu No. Christopher. Caliendo. Contigo. 1996. 1994.. CA: Caliendo Music Publishing. Toluca Lake. 2002. Maurice. Toluca Lake. Christopher. Despiadado. Los Angeles: Caliendo World Music Publishing. Friedrich. The violin part ranges from g-3 to a-5. Caliendo. Christopher. Caliendo. New Hampshire: Falls House Press. Christopher. Gli amanti segreti. CA: Caliendo Music Publishing. 2002. Borromeo Suite. La diplomatica. 2003. Toluca Lake. NH: Falls House Press. Cahen. 1994. Caliendo. 2002. Christopher. 1994. The Gypsy Waltz of the Pied Piper.Brumby. Drei Nocturnes für Violine (Flöte) und Gitarre.2004. Toluca Lake. Derbyshire. Christopher. Maurice. Burgmüller. 33 . Impulso for Flute and Guitar. Caliendo. 1 in B Minor. CA: Caliendo Music Publishing. Nocturne No. La desidera di amore. Cahen. Nashua. Frankfurt: Musikverlag Zimmerman. Christopher. Los Angeles: Caliendo World Music Publishing. Impromptu No. Caliendo. 2005. United Kingdom: Lathkill Music Publishers. Toluca Lake. Christopher. Christopher. 1997. Los Angeles: Caliendo World Music Publishing Inc. Caliendo. Allegria. Colin.” New Hampshire: Falls House Press. Caliendo. 1. Acariciame. This nineteenth-century collection was originally composed for violin and guitar. Caliendo. Caliendo. 1997. Caliendo. Los Angeles: Caliendo World Music Publishing. Caliendo. Caliendo. Amanacer. CA: Caliendo Music Publishing. Il Conquistador. Cahen. “à Elise Rauschenbach. Christopher. CA: Caliendo Music Publishing. Coraggio for Flute and Guitar. 2002. requiring some octave transpositions from the flutist. Christopher. 1998. Christopher. Los Angeles: Caliendo World Music Publishing. 1996. 1997. 1997. Chesterfield. 1997. Toluca Lake. Caliente for Flute and Guitar. Ardiente. Edited by Matthias Henke.

Ven a mis brazos. 1997. Toluca Lake. Christopher. CA: Caliendo Music Publishing.Caliendo. Christopher. CA: Caliendo Music Publishing. 2003. Tango tarantella. CA: Caliendo Music Publishing.. Variazioni per flauto e chitarra. Siempre domingo. 1996. 1997. Las Fuentes del romance. Christopher. Edited by Nona Pyron. 2003. Toluca Lake. Inc. 1996. Toluca Lake. Torbellino. Christopher. Christopher. Serenade for Cello (or Flute) and Guitar. Christopher. Toluca Lake. Tristeza. Christopher. Los Angeles: Caliendo World Music Pulishing. 1997. Caliendo. Caliendo. Santa Barbara: Grancino Editions. Risorgimento for Flute and Guitar. Christopher. 1979. Lamento for Flute and Guitar. Christopher. Brasileirinhas. Christopher. Caliendo. Call. Los Angeles: Caliendo World Music Publishing.. Quebec: Les Productions d’OZ. the fourth of which is scored for solo flute and a pair of guitars. Toluca Lake. Toluca Lake. Los Angeles: Caliendo World Music Publishing. Toluca Lake.. CA: Caliendo Music Publishing. Tango del burlesco. Remembranza for Flute and Guitar. 1996 Caliendo. Caliendo. Tango del andulals. CA: Caliendo Music Publishing. Caliendo. Los Angeles: Caliendo World Music Publishing. Christopher. 1997. Christopher. Leonard de. Los Angeles: Caliendo World Music Publishing. Leonhard de. CA: Caliendo Music Publishing. Tango de los flamencos. Caliendo. 34 . Christopher. 1984. La Milonga. 1996. 1996. Brasileirinhas is a set of six Brazilian dances. 1996. Caliendo. Toluca Lake. Caliendo. Milan: Edizioni Suvini Zerboni. 2002. Claudio. CA: Caliendo Music Publishing. Caliendo. Caliendo. Toluca Lake. 1996. Inc. Caliendo. Caliendo. Caliendo. Edited by Vincenzo Saldareli. Toluca Lake. CA: Caliendo Music Publishing. Christopher. CA: Caliendo Music Corp. 2005. Call. Christopher. La memoria. Camisassa. Caliendo. 1996. CA: Caliendo Music Publishing. 2002. Op. Christopher. La Primavera. 84. Toluca Lake. Meditazione. CA: Caliendo Music Publishing.

Six duos pour guitare et flûte op. Five Serenades for Flute (Violin) and Guitar (Lute). 51 per flauto e chitarra. Edgecliff. 104/109. Firenze: Studion Per Edizioni Scelte. Australia: Charlton Music. Ferdinando. 2002. Carulli. Peters Corporation. Ferdinando.. The Wind. 1979. Milan: Edizioni Suvini Zerboni. it does appear that this nineteenth century piece was originally intended for these forces and not a transcription.. Friedrich Vieweg. Al compas de la viguëla pour flûte et guitare. Ferdinando. Carulli. Jorge. Carulli. Carulli. Op. 1993. Ferdinando. Caprice for Flute and Guitar. Volume 1. Sérénade pour flûte et guitare. 1973. Italia: Bèrben. 1981. Australia: Charlton Music. Edited by William Ghezzi. 35 . Ferdinando. Carulli. 1978. 1974. Pa. 104-105. Sei duetti. Tre piccoli duetti op. 337 für Flöte und Gitarre Nach zwei Motiven aus der Oper "Il Pirata" von Vincenzo Bellini. Ferdinando. Cadenza by Massimo Toffoletti.: Theodore Presser Co. Carulli. 191 per flauto e chitarra. According to Chiesa. 1930's. Paris: Editions Henry Lemoine. Fantasie op. 2008. Berlin: Chr.F. Guitar fingerings by Philippe Meunier. Charlton.Capodaglio. Edited by Spiro Thomatos. Carulli. Edited by Frank Nagel. Deux duos pour guitare et flûte op. 1991. Wiesbaden: Breitkopf and Härtel. Ferdinando. Andrew. In his preface. Concerto in sol maggiore per flauto chitarra e orchestra. 1991. Bryn Mawr. Charlton. Carulli. 1981. Ferdinando. Carulli. 1977. op. Ferdinando. Edited by Hans Schmid Kayser. Paris: Gérard Billaudot. FL: Trillenium Music Co. Ancona. Preface and revisions by Ruggero Chiesa. Ferdinando. Nocturne op. Italy: Pizzicato Edizioni Musicali. Adam solitudo per flauto e chitarra. Firenze: Studion Per Edizioni Scelte. Richard. Edgecliff. Three Sentimental Scenes for Flute and Guitar. Edited by Maurizio Bignardelli and Roberto Vallini. New York: C. Charlton. Fünf Serenaden für Flöte (Geige) und Gitarre (Laute). Six Duos for Flute (or Violin) and Guitar. 1995. Richard. Bara. Ancona. Edited by Maurizio Bignardelli e Giampaolo Cetraro. Leonello. Ferdinando. 2000. Italy: Bèrben. 190 für Flöte und Gitarre. 158. Carulli. Amsterdam: Edition Heinrichshofen. Sarasota. Ruggero Chiesa points out the rarity of flute and guitar concerti. Carulli. 1999. Undine. Cardoso.

Domenico. Chen. Sonaten D-Dur und C-Dur. Prelude in E Minor. Sonaten G Dur. Tríptico. Chopin. Heidelberg: Chanterelle Verlag.2 für Flöte/Violine (Violoncello) und Gitarre. Homenaje a carrero patagónico for Flute and Guitar. Variations pour flûte et guitare. Frederic. Oliver. Frankfurt: Zimmermann. 1 pour flûte et guitare. Cox. Louis Jeng-Chun. 1993. Trois pieces pour flûte et guitare. 1982. Arranged by Erik Marchelie. Three Pieces for Flute With Piano Accompaniment (Optional Guitar Accompaniment for Pieces I and II). Harry. A surgente pour flûte et guitare. 2002. 2005. Frankfurt: Zimmermann. 1994. Cortés. Op. Nuages. Three Pieces Based on Playford Tunes for Flute and Guitar. 1998. Cortés. Saint-Romuald Canada: Les Productions d’ Oz. Costa. Souvenir d' orient ou fantaisie brillante op. London: Novello. Edited by Brian Jeffery. Conlee. Stephen L. Saint-Romuald. Chopin. Edited by Boris Björn Bagger. Spalding. 2006. 1997. Domenico. 1977. Mr. 2003. Barcelona: Clivis. Delaware Water Gap. Transcribed by Walter F. 28. Zürich: Hug Musikverlage. 4 for Flute and Guitar. 64 no. Zwei Walzer. Canada: Les Productions d’OZ 2000 Inc. 36 . 1979. Sonaten A-Dur. Onorato. Paris: Gérard Billaudot. Guitar accompaniment by Dominique Starck. Chopin. Paris: Gérard Billaudot. Bühl/Baden: Antes Edition. Inc. 1996. Juan Manuel. Coll. Nocturne op. 1985. 1975. Tango i chacarera. Valse op. Frederic.Chassain. Marcelo. Cimarosa. Die Sphäre der Poesie für Flöte und Gitarre. This two-volume set contains five of Cimarosa’s nineteenth century harpsichord sonatas arranged for flute and guitar. Sonaten a Mol. 9. 12 for Guitar and Flute. Fünf Sonaten für Flöte und Gitarre Heft 1 und Heft 2. Frederic. Frederic. Coronel. Juan Manuel. Paris: Gérard Billaudot. Transcribed by Thomas Pinschof and Jochen Schubert. Playford’s Musical Banquet. David. Antwerpen: Uitgave Metropolis. No.. Frederic. 1972. Arranged by Jean-Maurice Mourat. Chopin. London: Telica Editions. Xavier. Chopin. Deux sonates pour flûte (violin or mandoline) et guitare. Musikalische Nachdichtung von 14 Chinesischen Gedichten der Tang-Dynastie. 1992. PA: Shawnee Press.. Arranged by Carsten Linc. Providence: RI. Paris: Editions Combre. Cox. Cimarosa.

2001. Notturno aus "Abend-Unterhaltungen" (WoO) für Flöte (Violine) oder Klarinette und Gitarre. 1978. La fille aux cheveux de lin. This collection features percussive techniques for the guitar. Italy: Bèrben. Le petit berger. County Tipperary. ed. 1936.” Transcribed by Mario Gangi and Giovanni Gatti. Derungs. Yvonne. Edited by Andreas Schroth. Sonatine für Flöte und Gitarre. 37 . Claude. Carl. Debussy. Debussy. Transcribed by Stephan Schäfer. Paris: Gérard Billaudot. “The Little Shepherd. 2004. The flute part of D’Orleans contains sections of optional improvization. Debussy. Toomevara. Sechs Stücke für Flöte un Gitarre. Claude. Claude. NC: Alry Publications. Transcribed by Karl-Heinz Gebauer. London: Schott. 1978. Charlotte. 1990. Dentello.Dallinger. La fille aux cheveux de lin.H. Vienna: Doblinger. Bühl/Baden: Antes Edition. This set of a dozen pieces includes: Kemp’s Jig and Cesare Negri’s Bassa Gioiosa. 1979. Helvetia: Pizzicato Verlag. Jean-Michel. This collection includes: Danse bohémienne. Nashua. Edited by Frank Nagel. Diabelli. Diabelli. Arranged by Stefan Nesyba. Duo d-dur für Violine (Flöte) und Gitarre. N. Gion Antoni. Paris: Gérard Billaudot. WA: Brazilian Music Enterprises. Anton. Edited by Karl Scheit. Rogério. 1986. Quatre facettes pour flûte et guitare. Anton. Six danses pour syrinx pour flûte et guitare. and The Little Negro. Lopez. Derfler. Transcribed by David Grainger Brown.: Falls House Press. 1998. Desportes. D’Orleans. Desrosiers. Berlin: Edition Schroth.. Wein: Doblinger. The Little Negro: Le petit nègre. Paris: Leduc. Anton. 4 Stücke für Flöte und Gitarre. Edited by Karl Scheit. Ancona. Anton. The Little Shepherd. 2007. Wiesbaden: Breitkopf and Härtel. Diabelli. 2001. Potpourri aus Beethoven's Beliebtesten Werken Eingerichtet für Violin oder Flöte und Guitarre. 1973. Damase. Geneva: Philomele Editions. Fridolin. Diabelli. Drei Stücke für Flöte (oder Violine) und Gitarre. 16th and 17th Century Music for Weddings and Festive Occasions. 1984. 1982. 1994. Claude. Debussy. Reed.

Dowland. 1989. Simrock." "What Child is this. The guitar part contains numerous harmonics. Charles. Draper. Roberto. Carlo. Edited by Christoph Jäggen. 1977. Dodgson. Anton. Sonatina Mexicana. 2000. 1960. Charlotte. Guitar and Flute Duets. New Canaan. Adliswil: Pizzicato Verlag Helvetia. 1993. Sonata per flauto e chitarra.Diabelli. Violin) und Gitarre. 1997. Denver: Alry Publications. 38 . Robert. Frankfurt: Zimmerman Musickverlag. Serenade for Flute and Guitar Op. Diversions on "La Folia" for Flute and Guitar. Mainz: Schott. Di Marino. Dix. Revised by Willy Domandl. 1950’s. Anton. while the guitar part includes frequent soloistic passages." and "God Rest ye Merry. Peter. Franz. Guitar fingerings by Walter Feybli. Lachdeutscher and Tambourin. Serenade Op. Diabelli. Helvetia: Pizzicato. The flute requires fluent low register technique reaching c-4. Adliswil: Pizzicato Verlag Helvetia. Stephen. The preface to this edition recommends these as suitable encore repertoire. Domeniconi. New York: Consolidated Music Publishers. 1971. Edited and Arranged by Konrad Ragossnig. 1998. 1983. Transverse Flute. Doppler. Diabelli. 99. Gentlemen. Diabelli. arr. Arranged by Irene Maddox and Doug James. Edited by Gaia Scabbia and Bruno Giuffredi. Dowdall. Three Dances: The Earl of Essex his Galliard. NC: Pan Publications. Anton and Franz Joseph Gossec. John. The King of Denmark’s Galliard. Dieupart. Japan: Japan Flute Club. John. ed. Robert. Christmas Medley of 19th Century Carols for Flute and Guitar. Wolfenbüttel: Karl Heinrich Möseler Verlag. Di Marino. Fantasie Pastorale Hongroise. Two Reveries for Flute and Guitar. Suite II per flauto e chitarra. Berlin: Edition Margaux. Violin) and Guitar (lute). Lachrimae Pavan. Roberto. Six airs favorites per flauto e chitarra. 1998. CT: DRK Music. Italy: Edizioni Musicali Sinfonica. Suite III per flauto e chitarra. Hamburg: N. Edited by Christoph Jäggin. 1988. Zwei heitere Stücke für Flöte und Gitarre. In Search of Folly." "O Little Town of Bethlehem. Anton. Suite F-Moll für Blockflöte (Flöte. An arrangement of dances from Diabelli’s ballet De Nina ou la folle par Amor. 1978. Brugherio. This medley includes: "It Came Upon a Midnight Clear. Frankfurt: Zimmermann.99.” The flute part contains glissandi and a section of optional improvisation. for One Melodic Instrument (Recorder. 1987 Di Marino. 1980-85.

77. Frankfurt: Zimmermann. Classiquement vôtre pour flûte et guitare. Gabriel. FL: Trillenium Music Co. 1984. Dubois. Fauré. 1986. Fauré. 1984. London: Chester Music. 1/ Sicilienne op. Fauré. Pavane. Zwei Humoresken Für Flöte oder Ein Anderes Melodie-Instrument und Gitarre. Arranged by Terry Herald. Pavane. 1) for Flute and Guitar.Dressler. Danse Joyeuse. Falcon. Sarasota. London: Schott and Co. 1987. Japanese Suite. Albans. Feld. Paris: Billauadot. 2005. 2005. John W. Fauré. 1976. Transcribed by Karl-Heinz Gebauer.. Raggedyantics for Flute and Guitar. Duarte. nr. Morceau de concours. 1984. Denver: Alry Publications. Variationen über eine Romanze von Méhul für Flöte und Gitarre. Amsterdam: Broekmans and Van Poppel. Denver: Alry. 1987. Denver: Alry Publications. Egloga burattinata: Due pezzi per flauto o violino e chitarra. La vida breve (Spanish Dance No. Paris: Alphonse Leduc. 2005. John W. Paris: Alphonse Leduc. The composer’s foreword indicates Japanese Suite is “based on an American view of Japan and its culture. Ferenc. Manuel de. Hertz: Corda Music Publications. Transcribed by Thomas Pinschof und Jochen Schubert. 7. 1981. Duarte. Raphael. Farkas. 4 for Flute and Guitar or Recorder and Guitar. This concise and lyrical one-movement work includes scalar thirty-second note passages and double dotting over a chordal accompaniment. Papillon op.” Falcon. Budapest: Editio Musica. 1979. Jindrich. 15. Frankfurt am Main: Zimmermann.. Arranged by Stefan Nesyba. Edited by Frank Michael and Andreas Grün. Marvin. Gabriel. Duarte. Après un rêve op. Gabriel. Gabriel. Falla. ou hautbois. 1969. Pièce pour flûte. 1987. Detroit: Little Piper. ou violin. Fauré. 1984. 1920 and 1986. 39 . Fauré. English Suite No. John W. Edited by Stephan Schäfer. Transcribed by William Ghezzi. Pierre Max. et guitare. Fargo. Marvin. 78. 1971. Amsterdam: Broekmans and van Poppel. Gabriel. Con Calma for Flute and Guitar. Sonatina Op. Arranged for Flute and Guitar by Stuart McGowan. Falcon. St. 2000. Deux danses pour flûte et guitare. Antonin. Dvorak. Gabriel. Vienna: Doblinger. ND: Raptor Publishing. Marvin.

35. Wiesbaden: Breitkopf and Härtel. Fürstenau. Stare miasto. 2000. Suite No. Fürstenau. 1995. Homann. Kaspar.Fellegara. Edited and Fingered by O.A. 2000.R. New York: Schott. 1940’s. Gade. Tango Tzigane Arranged for Guitar. Fürstenau. Copenhagen: Edition Wilhelm Hansen. Pablo Daniel. Milano: Edizioni Curci.. 12 Stücke für Flöte und Gitarre Op. Françaix. 37. Selected and Arranged by Janice Dockendorff Boland and John Dowdall. München: Karthause Verlag. Flute or Violin and Guitar. Parlor Music is a collection of ten nineteenth-century works.. 1970. 1980. Kaspar. Kaspar. three of which are for flute alone. 34. Saint-Romuald. 1 The Foster Collection. Fürstenau. Garrido-Lecca. Jacob. Gaquere. Boris. Suite für Flöte und Gitarre. Kaspar. Kassel. 34. Zwölf Stücke für Flöte und Gitarre Op. 40 . Jean. Belwin Mills. Kaspar. 12 Original Kompositionen für Flöte und Gitarre op. 1991. 35. Edited by O. II op. NC: Alry Publications Etc. Zwölf Original Kompositionen für Flöte und Gitarre Op. Frankfurt: Zimmermann. 1962. Kaspar. Foster. 12 Original Compositions for Flute and Guitar. Magdeburg: Edition Walhall. Kaspar. García. Fürstenau. 12 Original-Kompositionen für Flöte und Gitarre Op. Verlag. 1982. 1969. Edited by Frank Nagel. Kaspar. Fürstenau. Kaspar. NY. 35. Kaspar. 1969. Hannover: Verlag Adolph Nagel. Stephen Collins. 1935. Paris: Gérard Billaudot. Parlor Music for Flute and Guitar (Plus Three Flute Solos) Vol. 35 für Flöte und Gitarre. Edited by Alfred Glockner. Fürstenau. Homann. Vittorio. Fürstenau. 1976. Six Duets for Flute and Guitar from Op. Lima: Biblioteca Nacional del Perú. 2001. Sonata for Recorder (Flute) and Guitar. Frankfurt am Main: Musikverlag Zimmermann. Edited and Fingered by O.. Melville. Homann. Celso. Suite de danses pour flûte et guitare. Wolfgang Lendle. Fürstenau. 1980. Tango Jalousie. Fürstenau. New York: Heinrichshofen Edition. Charlotte. 12 Original-Kompositionen für Flöte und Gitarre Op. Celle: Nagels. Kaspar. 16. 2004. Edited by Siegfried Behrend. Danzas populares andinas para flauta y guitarra. Nagels. 1980. Op. Buenos aires rítmico. 38.L. Canada: Les Productions D’OZ Inc. Fingered by Philippe Meunier. Edited by Frank Nagel. Canto notturno per flauto e chitarra. Guitar part arranged by. Arranged by Jean Maurice Mourat. Paris: Schott S. Fürstenau. 2001.

Gaude. Inc. 1974. Vincenzo. Anacona. Theodor. 24. Simrock. Heidelberg: Michael Macmeeken Chanterelle Verlag. Sonata for Guitar and Flute (Oboe) or Violin Op. Sonatine für Flöte und Gitarre. Ltd. 1977. 2. Polonaise für Flöte und Gitarre. Mauro. 1938. Gelli. Fingerings are by Philippe Meunier. Three Divertimenti for Flute or Violin and Guitar. Gaude. Gelli.C.Der Volkmusikverlag. Anacona. 2. Duettino Facile Op. Concerto per flauto. Edited by Mario Puerini and Fabio Rossini. Gerhard. 1938. Antwerpen: Digital Music Print. Pacific. Mychal. Giuliani. Hamburg: Joachim Trekel. Two Divertimenti for Flute and Guitar. Heinrich. chitarra e archi. NY: Belwin Mills Publishing. Emmanuel. Quebec: Les Productions D’OZ 2000. Corp. Vincenzo. Saint-Romuald. 18 Divertimenti Notturni Op. Duettino Facile Op. Génin.: Columbia Music Co. Italia: Bèrben. 77 für Flöte (Violine) und Gitarre. 2005. Gevers. Mauro. Gelli. "La casa delle ombre. Italy: Bèrben. Hannover: Verlag Adolph Nagel. Edited by Mario Puerini and Fabio Rossini. Vienna: Doblinger.. Italy: Bèrben. 1994. 2004. Revised by Spiros Thomatos. Partie im dialog (Impression für Flöte und Gitarre Partitur and Stimmen). MO: Cathedral Music Press. Theodor. 1977.. 1968. Jean-Luc. Op. 1979. Edited by Otto Schindler. San Antonio. 1972. 2008. Wedding Music for Flute and Guitar. The Carnival of Venice. Edited by Frank Nagel... op. 28 per flauto e chitarra. Wiesbaden: Breitkopf and Härtel. 1985. Washington D. 2000. Fleur d’ébène. 41 . Mauro. 1992. Gilardino. 2. New York: Schott and Co. Edited by Siegfried Behrend. Variazioni Op. Melville. 1997. Gauthier. Vicenzo. London and Hamburg: N. Giuliani. Angelo. Drei Divertimenti für Flöte oder Violine und Gitare. Michael-Joseph. Giuliani. 86 per Flauto (o Violino) e Chitarra. 77 für Flöte (oder Violine) und Gitarre. Guitar part revised by Allan Hill. Gebauer.Gattermeyer. Paul Agricole. Gendron. Arranged by Frank Nagel. Nachtstück for Guitar and Flute. Op. TX: Southern Music Co. Fritz Christian.. Arranged by Irene Maddox and Doug James." Ancona.

Mauro. Op. 1988. Padova: G. Mauro. Duo concertante per flauto (o violino) e chitarra. 77. 1977.Giuliani. 52. Duo Concertant für Flöte und Gitarre Op. 85 for Flute or Violin and Guitar. 25. 1978. 42 . Giuliani. Giuliani. Mauro. London: Schott. as well as a detailed guide to the signs and symbols used in the work. Mauro. Mauro. 1986. Mauro. Grand Duo Concertante op. 1995. Giuliani. No score is included. CA: GFA Publication Facsimile Series. Grand potpourri pour la flûte et guitare. This edition of Giuliani's op. 1977. Mauro. Mauro. Grosse Serenade für Flöte (oder Violine) und Gitarre Op. This edition of Giuliani’s Op. Garden Grove. The introduction includes a guide to contemporary ornamentation practices. Milan: Edizioni Musicali “Sinfonica Jazz. Grand Duo Concertant. 1979. 1982. This edition of Grand Potpourri presents a facsimile with no score. Edited by Henner Eppel and Volker Höh. Giuliani. 85. Edited by Frank Nagel Fingered by Philippe Meunier. Wiesbaden: Breitkopf and Härtel. Op. 77. Gran Duetto Concertante for Flute or Violin and Guitar. Duettino per flauto o violino e chitarra op. Frankfurt: Zimmermann. Giuliani. Edited by Bruno Giuffredi and Gaia Scabbia. Edited by Peter-Lukas Graf and Konrad Ragossnig. Giuliani. Mauro. 1974. Edited by Bruno Tonazzi. London: Tecla Editions. Giuliani. Boca Raton. Zanibon. Frankfurt: Zimmermann. Op.” 1994. 52. Giuliani. 85 für Flöte ( Violine) und Gitarre. Mauro. 1998.. Edited by Benkõ Dániel. a discussion about the instruments of the time. Edited and Fingered by Frederick Noad. Duo Concertant for Violin and Guitar Op. Giuliani. Giuliani. Op. Mauro. New York: Ariel Publications. Edited by Frank Nagel and Dieter Kreidler. 85 includes a preface and critical notes. Leichtes Duo für Flöte oder Violine und Gitarre Op. 85 per flauto (violino) e chitarra. FL: Masters Music Publication Inc. 1984. Gran Duetto Concertante für Flöte (Violine) und Gitarre. Budapest: Editio Musica Budapest. Giuliani. London: Tecla Editions. Grand Duo Concertante Op. Grande Sonata for Flute (Violin) and Guitar. Edited by Edmund Wensiecki. Mauro. 1989. Giuliani. Duetto per violino (o flauto) e chitarra. 25. Mauro. 1981. Mauro. Frankfurt: Zimmermann. 77 comes with a detailed preface that includes biographical information. Edited by Vincenzo Saldarelli. Giuliani. 82. Milan: Edizioni Suvini Zerboni.

Collection by Robert Hériché and J. Gragniani. variations et minuet pour flûte et guitarre. Variations on a Theme by Rossini by Frederic Chopin. These reprints contain parts only and are somewhat illegible. 1980. Arranged by Jean-Maurice Mourat. Mauro. Göpfert. Rondo (Wq 133) by C. Edited by Henner Epple and Volker Höh. Variations for Flute or Violin and Guitar (or Piano) Op. Filippo. Da Capo! Encore! Zugabe! The Finest Encore Pieces for Flute and Guitar. Six Variations for Flute or Violin and Guitar. Frankfurt: Zimmerman. Graf-Peter Lucas. Sonata for Flute and Guitar. Edited by Brian Jeffery London: Tecla Editions.A. 127 für Flöte (Violine) und Gitarre. Arranged and Edited by Henner Eppel und Volker Höh. Paris: Gérard Billaudot. 81. S. Radamés. 1987. 53. Allegretto from Op. Mozart. Benjamin. Theme. Giuliani. Tambourin by Francois Joseph Gossec. 1994. 52. 15 für Flöte und Gitarre. Giuliani. 1982. 74. 24a. 63. Ballet d' orphée et gavotte for flûte et guitare. Suite. 116 for Flute and Guitar. 1993. 1983.: Pierrot Press. Edited by Matthias Henke. Edited by Brian Jeffery. 84. 116 für Flöte und Gitarre. 1982. and Original Rags by Scott Joplin.P. Sonatina for Flute and Guitar. 43 . Serenade Op. Transcribed by Eliot Fisk. Gnattali. 1994. Op. Edited by Brian Jeffery. 2. The pieces in this collection vary from level I to level II and include: Siciliano by J. 7 in F Major. Opus 127 is one of the most commonly played of Mauro Giuliani’s flute and guitar duos. Godard. CA: Brazilliance Music. San Antonio: Creative Music Source. Sherman Oaks. Carl Andreas. Polacca from the Sonata for Violin and Guitar No.E. The Complete Works in Facsimiles of the Original Editions Op. Turkish March from Piano Sonata in A major by W. 1987. Benjamin. Giuliani. 77. This ten-volume collection of Giuliani's works for guitar and flute or violin contains reprints of original editions. 1964. Giuliani. Maurice Mourat. Gluck. Mauro. 8 pour flûte et guitare. Godard. Mainz: Schott. Giuliani. 1985. One Night in Spain for Flute and Guitar. Edited by Ervin Monroe. 25. London: Tecla Editions. Mauro. 19. op. 75. Edited by J. Bach. 1986. Alice. Mauro. 76. Sonate op.S. arr. Op.Giuliani. Christoph Willibald von. 1995. Sonate no. Maurice Mourat. Paris: Gérard Billaudot. 1999. Op. Detroit: Little Piper Publications. 85. Paris: Gérard Billaudot.l. Edited by Konrad Ragossnig. Franfurt: Zimmermann. Gomez. Mauro. London: Tecla Editions. Bach. Frankfurt: Zimmermann. Mauro.

This collection includes: Charles Gounod Ave Maria.Granados. Joseph. 4 (Villanesca) et 5 (Andaluza) pour flûte et guitare. NY: Carl Fischer. and Jean Rosenblum. violin or instrument mélodique et guitare and 9 pièces pour dèbter pour flûte.1 and 2: 6 pièces pour flûte. George Frideric. Danses espagnoles nos. 1959. Berlin: Astoria Verlag. Sonata D-Moll für Altblockflöte (Querflöte. no. 1999. Händel. Capriccio pour flûte et guitare. Enrique. Sonate für Flöte oder Violine und Gitarre op. transc. Rimsky-Korsakov Il Volo del Calabrone. George Frideric. 1997. 5. 44 . Henkel. Jean-Pierre. Sonate en do pour flûte et guitare. Budapest: Editio Musica. 1998. 9. CA: Freshman Music. Transcribed for Flute and Guitar by Montserrat Gascón i Xavier Coll. George Frideric. The Rosewood Book. 1995. Granados. Herald. Paris: Gérard Billaudot. Johann Sebastian Bach Badinerie. Mozart Sonata in Do Maggiore K545. Geneva: Philomele Editions. George Frideric. New York. Haydn. Händel. 1. 1999. Michael. Violine. Oboe) und Gitarre. Edited by Miklós Mosóczi. pour flûte et fuitare. vol. Edited by Konrad Rogossnig. François Borne Carmen Fantasy. 2002. Cassation pour flûte et guitare. Sonate en la mineur op. Danza Española no. Arranged by Ron Freshman. Clair de terre. Arranged by Jean-Maurice Mourat. 1938. Paris: Gérard Billaudot. Vittorio Monti Czardas. 1977. 1992. Duo für Flöte und Gitarre Op. Guitar Continuo by Erwin Schaller. Transcribed by Jean-Maurice Mourat. Händel. Hannover: Verlag Adolph Nagel. Andrea and Luigi Verrini. Haug. Milano: Casa Musicale Sonzogno. "Le coucou" scherzo pour flûte et guitare. Flute Sonata #9 in A Minor for Flute and Guitar (Optional Cello). Haydn. 2004. Granados. Paris: Gérard Billaudot. Transcribed by Jean-Maurice Mourat. Hans. Flauto e chitarra in concerto antologia di celebri brani. 181. transc. Händel. 1998. 1999. Peter. Michael. Valsos poètics. Paris: Billaudot. Paris: Editions Henry Lemonie. 1983. Edited by Otto Schindler. Gioachino Rossini Andante con Variazioni. Sonata in la minore per flauto e chitarra. 30 Duets for Guitar and Flute (or Any C Instrument). Wein: Doblinger. and Marin Marais La Basque. Arranged by Yvon Rivoal and Georges Lambert. Enrique. Enrique. Arranged by Jean Maurice Mourat. violin or instrument mélodique et guitare. Greenwood. Joseph. Paris: Éditions Max Eschig. IV pour flûte et guitare. Heilmann. Griminelli. 1982. Henkel. Rancho Santa Fe. Grau. 1967. Barcelona: Clivis Publications. Paris: Editions Combre.

NY: Belwin Mills. Isbin. Horvath-Thomas. Hotz. Lottstetten: Edition Kunzelmann.. 1982. simple and compound meter changes.I. Italian Suite for Treble Recorder (or Flute) and Guitar. Jaffe. Paris: Alphonse Leduc. Melville. CA: Bungaloo Music.. Miss Forbes Farewell. Belgium: Antares. Suite for Flute and Guitar. Gilbert and Alex van de Meulebroecke. Jappelli. Sonata for Flute or Violin and Guitar. [S. The Star of County Down and can be performed with guitar (chord symbols) or piano accompaniment. Pasedena. TX: Southern Music Co. Sixtology.six pièces pour flûte ou violin et guitare. This Celtic collection includes God Save Ireland. Imamovic. Imamovic. 1989. Oboe. Almer.. The Wild Rover. Le Romain. Pasedena. Imamovic. 2006. Pasadena. Edited by Norbert Dams. Histoires. Suite e-moll op. 2008. Kathleen. 1922 and 1986. Hoddinott. Gerard. San Antonio. Pasedena. The Lad wi’ the Plaidie.l. Magdeburg. Alun. Dream of Seikilos für Flöte und Gitarre. I’ll Take You Home Again. Istvan. 2004.1983. Four Arias for Flute and Guitar. 2008. Jong. Germany: Edition Daminus. Ibert. Marinus de.. Continuo-Bearbeitung. and unorthodox time signatures. London: Oxford University Press. Jacques. Hovhaness. Volo breve for Flute and Guitar. Jacques. Jacques. Violine) und Gitarre. Christof Jäggin. Sonatina for Flute and Guitar. Sarajevo Nights for Flute and Guitar.. Dinner with J.. 2 Nr. Suite for Flute and Guitar. Pasedena. 45 . Almer. Imamovic. 2006. 2005. Ibert. 1970. CA: Bungaloo Music. Paris: Alphonse Leduc. Imamovic. Sonatina contains metrical challenges such as syncopations in 8/8 time. 2001. Tapkalica for Flute and Guitar. 7 Irish Tunes für Querflöte & Klavier (oder Gitarre). 1954. 1980. Smash the Window. op. für Flöte (Blöckflöte. S. Nicola. Jamilla’s Dance for Flute and Guitar. 2008. Michael. Germany: Edition Walhall. 4.D. Antwerpen: Uitgave Metropolis. Almer. 1991.Henkel.n. Frankfurt: Musikverlag Zimmerman. 1977. Hotteterre. Almer. CA: Bungaloo Music. Entr'acte pour flûte ou violon et guitare.]: Alan Hovhaness. Theme for Carolyn for Flute and Guitar. 9. CA: Bungaloo Music. 1984. Kenneth. Walsrode. CA: Bungaloo Music. Alan. Almer.: s. Hanz Dieter. Johnson.

Paris: Editions I. Reflection Rag. Kessick. The Maple Leaf Rag. New York/London: G. Vier Stücke für Zwei Gitarren oder für Melodie-Instrument und Gitarre. The Strenuous Life. Scott. Ragtime Dance. Vier Stücke was originally conceived for two guitars. Joplin. New York/London: G. Billaudot. Joplin. 1982. Michael. Komter. Amsterdam: Donemus. Joubert. aus Op. Paris: Compre. Karp. 19th Century Masterpieces for Flute and Guitar. Arranged by Alessandro Boris Amisich. 2003. 1 and 2. Krantz. 92b pour flûte et guitare. arr. Kennan. Pascal. The Entertainer. Karp. Marlaena. Jan Maarten. Saint-Romuald. Francis. 249a. The Strenuous Life. Kaiser. Paris: Henry Lemoine. Scott. 2006. Krenek. 1980. 4 Ragtimes Vol. Night Soliloquy for Flute and Guitar. Joubert. 1995. Claude-Henry. 1981. Kleynjans. 18th Century Masterpieces for Flute and Guitar. Daniel. Blessure op. 46 . Sun Flower Slow Drag. 172. Ritournelle pour flûte (ou violon) et guitare. Six inventions pour flûte et guitare. Divertimento en sol. 1990.D. This two-volume set of classic rags includes: The Entertainer. Paragon Rag. Summer Music for Flute or Violin and Guitar. 1976. Kleynjans.. New York: Eastman School of Music. Arranged by Othmar Endelweber. 1982. Transcribed by Erik Marchelie. Arpam pour flûte et guitare. Chrysanthemum. Milan: Concert Artists Society. arr. Wein Munchen: Doblinger. Schirmer. Allen. London: Bärenreiter. Six inventions canoniques pour flûte et guitar ou deux guitares. 1984. NH: Falls House Press. Deux arias op. 1951. Schirmer. 1980. The flute line drops to g-3 and has to be taken up an octave.. Paris: Alphonse Leduc.Joplin. Michael.M. 2009. Edited by Robert Hériché. This collection includes. Kent. Zanibon. Padova: Edizioni G. Quattro ragtimes edizione per flauto e chitarra. 1988. Elite Syncopations. 1986. Paris: Editions Combre. Nashua. Paris: G. 2007. Original Rags. Francis. Scott. Maple Leaf Rag. Ernst. Jugy. Canzone for Flute and Guitar. Claude-Henry. Canada: Les Productions d’OZ 2000 Inc.

2007. Edited and fingered by Konrad Ragossnig and Peter-Lukas Graf. Kummer. Joseph. Brussels: Editions A. 49. Tampa: Tuscany Publications. 23 per flauto e chitarra. Drittes Potpourri aus der Oper "Tancred. Trois bluettes pour flute et guitare. 1979 Küffner. Op. 104. Edited by Matthias Henke. Op. 1979. Duetto concertante op. op. 1977. Mozart. Gran duetto op. 103 für Gitarre und Flöte oder Violine. Gisle. Poland: Eufonium. 49 and Serenade in D Major. Serenade in D. 1986. Joseph. 49. Joseph. Leisner. Küffner. Kvandal. Küffner.1900’s. PA: Theodore Presser Co. 1975. 1989. S. Jan van den. København: Engstrøm & Sødring. Serenade für Flöte und Gitarre in c-dur. Duo for Flute and Guitar Op. Wilhelmshaven: Heinrichshofen’s Verlag. Zwei Serenaden. 1967. Lauffensteiner.Krogseth. Cranz. op. Langenberg. 1978. für Querflöte und Gitarre. Joseph. 2000. op. 44. New York: Heinrichshofen Edition. Leclerc. Mainz: Schott. Capriccio. Lee. Introduction et variations sur un thème de Mozart op. Küffner. Milan: Edizioni Suvini Zerboni. Legnani. 1994. Su l’ombra di vesuvio for Flute and Guitar. Helvetia: Pizzicato Verlag Helvetia. Duetto A-Dur für zwei Gitarren oder Violine (Viola. 20 for Flute and Guitar. Munich: Doblinger. Introduktion. Luigi. 20. Karlsruhe: Edition 49. Divertimento for Flute and Guitar. Op." Op. Legnani. Bryn Mawr. Kuhlau. 47 . Two Serenades. Michel. Holland: Muziekuitgeverij can Teeseling. Nostalgia for Violin (or Flute) and Guitar. Four Pieces for Flute (or Violin) and Guitar. 10 na flet i gitare. David. 1981. op. Merion Music. Flöte. Joseph. Friedrich. Variations Op. Serenade d-dur. Clifford. Frankfurt: Zimmermann. Kaspar. 1988. Berlin-Lichterfelde: Schlesingersche Buchu. Edited by Boris Björn Bagger. Milan: Edizioni Suvini Zerboni. Luigi. 97 for Violin (or Flute) or Guitar. Nijmegen. Olso: Norsk Musikforlag. 87 per flauto e chitarra. 1994. 78. Musikhandlung.. Edited by Jaroslaw Pabisiak. Revisions by Ruggero Chiesa.l. Küffner. Kummer. Wolff Jakob. Serenade für Flöte und Gitarre. Küffner. Johan. 10 für Flöte (Violine) und Gitarre. 1994. Serenade c-dur.: Clifford Lee. Long. Clifford. Inc. Edited by Richard M. 2003. Serenade in C Major.A. Arranged for flute and guitar by Bent Larsen. Thema und Variation über ein Thema von W. 2007. Edited by Matthias Henke. Caspar. Lee. Revisions by Ruggero Chiesa. oder Oboe) und Gitarre. Chelmsford: Melandra Publications. 1999. Joseph. op.

Arranged by Jean-Maurice Mourat..Leu. Bryn Mawr. Provincetown. no date. 2. Jean-Baptiste. Oboe. 2002. 2003. Version for flute and guitar by Salvatore Lombardi and Piero Viti. 1964. Québec: Productions d'Oz 2000. Vienna: Hermann Schneider Musikverlag. Charlotte. 2007. Sonata Secunda für Flöte (Violine. Oboe) und Gitarre. Christophe. Paris: H. Oboe) und Gitarre. Helsinki: Suomalaisen Musiikin Tiedotuskeskus.. Celso.’ Quanno nascette ninno (canzone mediterranea). Ermano. Sonate D-Dur für Flöte (Violine. Hymns of Reverence. Loeillet. Maggini. Hohler Verlag. 1992 Machado. op. 2006. 4. Locatelli. Luolajan-Mikkola. Smile’s Light. Bern: Müller & Schade. Machado. Petit jazz à Paris.. Edited by Robert Brojer. 1995. Paris: Editions Henry Lemoine. Marcello. A due. Edited by Karl Scheit. Gitarre-Continuo by Jochen Schubert. Edited by Dániel Benkó and László Czidra. Maggio. Mägi. 2004. Raymond. No. Guitar Continuo by Robert Brojer. Ancona. Frankfurt: Musikverlag Zimmerman. Paris: Gérard Billaudot. arr. 1981. Locatelli. 1 per flauto e chitarra. 1993. Child’s Dance. Edited by Karl Scheit. Wein/München: Doblinger. Lemonie. Sonata in fa maggiore. Francesco. Pietro. Benedetto. 1985. no. Lohengrin. Canada: Les Productions D’OZ 2000 Inc. 2. Musiques Populaires Brésiliennes. Edited and arranged by Thomas Pinschof. Marcello. Peter. 1988. Inc. Sonata XII in G-dur for Flöte (Blockflöte. Pietro. PA: Theodore Presser Co. Guitar Continuo by Robert Brojer. Benedetto. Budapest: Edition CEH. Sonate G-Dur für Flöte (Violine. Lingen. Cinque disegni per flauto e chitarra. 48 . 1960. Alfonso de. Pietro. Saint-Romuald. Traveling Songs for Flute and Guitar. Suite modale pour flûte (ou violon) et guitare. Saint-Romuald. NC: Alry Publications. Oboe) und Gitarre. Ester. Locatelli. Christopher. Sambamar pour flûte et guitare. Arranged by Andrew Charlton. Celso. Leu. Italia: Bèrben. Lilienthal/Bremen: Eres Edition. Oboe) und Gitarre. Sonata in E Minor Op. Original Compositions: Incense. MA: The Provincetown Bookshop. 1999. Landsberg am Lech: H. 1983. Gainesville. Sonata Secunda für Flöte (Violine. S. Vienna and Munich: Verlag Doblinger. 1988. Robert. Mancini. Guitar Part Edited by Robert Brojer. Suvella sarja huilulle ja kitaralle. Liguori. Locatelli. Sonate en la mineur pour flûte et guitare. FL: Guitar Works in Cooperation with Flute Club America. Violine) and Guitarre (Basso Continuo). Vilho. Pietro. 1995. 2007.

Erik. Martín. Sonata seconda. Marlow. Mayseder. 2006. D’un soleil. Wolfgang Amadeus Mozart’s Spring. Saint-Romuald. Quattro sonata per flauto e chitarra. CA: Airfield Music. Seven Pieces for Flute and Guitar. Arranged by Jean-Maurice Mourat. Zanibon. 7. Franco. Johann Paul Aegidius. Padova: Zanibon. Canada: Les Productions. Margola.. 1987. Thierry and Patrick Guillem. 1978. la nuit… Saint-Romuald. This collection includes Greensleeves. Margola. Johann Sebastian Bach’s Sonata in C Major. Padova: Edizioni G. Canada: Les Productions d’OZ 2000 Inc. Quattro sonata per flauto e chitarra. Quattro sonate per flauto e chitarra. Masson. 1983 Margola. Seconde Polonaise. Paris: H. Quattro episodi per flauto e chitarra. Marcussen. Evocation Byzantine. Erik. Erik. Guitar part revised by Paolo Muggia. Eduardo. Paris: Editions Henry Lemoine. Quebec: Les Productions d’OZ. and Gabriel Faure’s Berceuse. 2005. Georg Telemann’s Sonata in F Major. Edited by Renzo Cabassi. La lyre d’orphée. Franco. Zanibon. Sonata terza. Marchelie. Ballade No. Joseph. 1988. Saint-Romuald. Reed. Arranged by Jakob Philipp Ruppel. 2005. 1976. Sonate en sol pour flûte et guitare. Franco. Sonata prima. Oslo: Norsk Musikforlag.Marcello. 1996. 1981. Davis. Arranged by Mauro Giuliani. Erik. Kjell. Janet. Franco. Marchelie. Edited by Brian Jeffery. Canada: Les Productions D’OZ 2000 Inc. 1985. 2007. Lemoine. Bühl/Baden: Antes Edition. Padova: G. Maxson. Zanibon. Margola. Sonata quarta. 2004. Christoph Gluck’s Minuet and Dance of the Blessed Spirits. Margola. Bernadetto. Marchelie. 1985. 1998. MO: Mel Bay Publications.. 1999. D’ OZ 2000. La lyre d’orphée contains cadenza-like episodes in both parts. 49 . The Joy of Flute and Guitar. Padova: Edizioni Zanibon. Quattro sonata per flauto e chitarra. Marchelie. Mes premiers pas pour flûte traversière et guitare. Franco. Suite habana. Three Pieces for Flute and Guitar. Pacific. “Les Yeux d’Amandine” pour flûte ou violin et guitare. London: Tecla Editions. Martini. 1970. Plaisir d’Amour für Flöte/Violine (Violoncello) und Gitarre. Paris: Billaudot. Padova: Edizioni G.

Progresiones para Pauline para flauta traversa y guitarra. Wolfgang Amadeus. 2. Meyerbeer. Arnold. Francesco. Köln: Wolfgang G. Cinq pièces faciles pour flûte à bec (alto ou soprano) ou flûte traversière et guitare. Luigi. 1965. Wolfgang Amadeus. Molino. Duetto per flauto e chitarra. Giacomo. op. Mozart. 1992. Divertimento pour flûte et guitare. Fabbriciani e V. 1986. 50 . Merlin. 1989. 47. 38 per flauto o violino e chitarra. 1976. 285. Haru No Umi for Flute and Guitar. 1988. Franz. Jean-Maurice. 1985 Möckl. Francesco. 17. 1986. Moretti. Meyer. Alexander. Molino.W. New York: American Music Center. San Francisco. Larghetto et allegretto pour flute (ou clarinette) et guitare. Three Duos Op. Frankfurt am Main: Musikverlag Wilhelm Zimmermann. K. 2001. Edited by Frank Nagel. Nocturno für Flöte (oder Violine) und Gitarre op. Miyagi. 38 für Flöte (Violine) und Gitarre. Arranged by Jean Maurice Mourat. Padova: Zanibon. Saldarelli. Nocturne op. Transcribed by Janet Ketchum and Peter Segal. 37. Ibériade pour flûte et guitare. Flute part edited by Veronica Mascaro. Al-andalus flûte et guitare. Bratislava: Slovensky Hudobny fond. CA: Guitar Solo Publications. Potpourris sur des motifs des opéras modernes les Huguenots pour flûte (ou violon) et guitarre par F. 1996. Mourat. Flute Quartet in D Major. Molino. Francesco. Arranged for flute and guitar by William Newman. Moyzes. Petite suite folklorique pour flûte et guitare. 1976. 1995. 1983.Méranger. 1999. No. Paris: Alphonse Leduc. Wiesbaden: Brietkopf and Härtel. Mourat. José Luis. René. 1988. 1991. Milano:Edizioni Suvini Zerboni. 61 for Violin (Flute or Oboe) and Guitar. Michio. Mercadante. Clouds for Flute and Guitar. Francesco. Sonatina per flauto a gitaru dielo 75. Molino. Paris: Gérard Billaudot. Mozart. Paris: Gérard Billaudot. Alain. Marion. IA: Dowland Editions. Asterisk. Paris: Gérard Billaudot. Paris: Gérard Billaudot. Arrangements by Yvon Rivoal and Georges Lambert. Jean-Maurice. Tampa. Begegnungen 5 Duos für Flöte and Gitarre. Paul. 1900’s. Nocturne op. FL: Tuscany Publications. Miteran. Hass Musikverlag. Fingerings by Philippe Meunier. Edited by von Bruno Henze. Revised by Carlo Barone. Edited by R. Paris: Henry Lemoine. Heidelberg: Chanterelle. Saverio. 2008.

Edited by Henner Eppel und Volker Höh. Serenata op. Nava. Antonio. 1981. Wolfgang Amadeus. Friedrich. 626. Nagel. Nava. 1981. Wolfgang Amadeus. 1985. 51 . 1973. Sunowska-Der Schönauer Sorbischer Tanz für Flöte und Gitarre. Ancona. 1986. a cura di Mario Martino. Christchurch [N. Sonate KV 545 für Flöte und Gitarre. Ogawa. Wiesbaden: Breitkopf and Härtel. Antonio.. 1998. Six Arias from the Magic Flute for Flute and Guitar. Antonio. Trios petits duos pour guitar et violon (or flute or clarinet). South Wales: Tecla Editions. 1911. 1998. Vienna: Doblinger. This edition is a reprint of the 1810 Milan Ricordi edition and is difficult to read. Figaros Hochzeit für Flöte (oder Violine) und Gitarre. Nava. Mozart. Transcribed and Edited by Allen Krantz. Vier Kleine Stücke aus dem Notenbuch des Achtjährigen W. NC: Pan Publications. Arranged by J. Bühl: Antes Edition. Antonio. Quebec: Les Productions d'OZ 2000 Inc. Mozart. Breitkopf and Härtel. Wolfgang Amadeus. 2003. Italia: Edizioni Musicali Bèrben. 1983. Frankfurt am Main: Zimmermann. Litschen: ENA-Musikverlag. 330 for Flute and Guitar. K. Tema con variazioni. Ancona. Philip. Sonatine für Querflöte (Tenorblockflöte) und Gitarre. Norman. 1999. Edited by Karl Scheit. Bearbeitet von Klaus Jäckle. Takashi. Revised by Massimo Pasi and Massimo Agostinelli. Charlotte. 1996. Frankfurt: Zimmermann. Arranged by Stephan Schäfer. Arranged by Stephan Schäfer. Arranged by Jean-Maurice Mourat. Ray. Josef. New York: International Music Co. 2002. 5 Cavatines. op. Sonata for Piano in E-flat Major for Flute and Guitar. 16. Greensleeves Jazz Interpretation.]: Nota Bene Music. Myslivecek. Jan Paul. Penderun. Arranged by Irene Maddox and Doug James. Neumann. Wolfgang Amadeus. 1985. Mozart. Nava.Mozart. Italia: Bèrben. K. Mozart. Sonata for Piano in C Major. Paris: Gérard Billaudot..Z. Tense Melodies for Flute and Guitar. Arranged by Siegfried Behrend. op. 2003. 40 per flauto e chitarra. 282 (189g). 2006. 16 per chitarra e flauto. Mozart für Flöte (oder ein Anderes Melodieinstrument) und Guitarre. Wolfgang Amadeus. Busch. Neel. London: Tecla Editions. Bologna: Ut Orpheus Edizioni. op. 23. Sonata per chitarra e flauto. Mozart. Wolfgang Amadeus.A. Wiesbaden. Sonate en ré majeur pour flûte et guitare. Wolfgang Amadeus. Transcribed by Keith Sullivan.G. Lacrymosa dal Requiem K. Guitar part arranged by Felix Schell. Mozart. 2003.

Astor. Le Grand Tango per Flauto e Chitarra. Inside Passage for Guitar and Flute. 2001. Arranged by Lee West. Adliswill: Pizzicato Verlag Helvetia. Poplyanova. Glion/Montreux: Éditions L. Shenandoah. Pierre. Niccolo. Arranged by Terry Herald and Ervin Monroe. Guitar Continuo by J. Johann. Pinto. Meadowsong for Guitar and Flute. Astor. 1987. 1994. 1995. Pachelbel. Three Preludes for Flute and Guitar.Ourkouzounov. Piazzolla. 2003. Johann. Prelude and Dance pour flûte et guitare. Patterson.R. San Francisco: Guitar Solo Publications. Atanas. Flute part edited by Lucille Goeres. Robin. Elena. Canada: Les Productions D’OZ 2000 Inc. MA: Santorella Publications Ltd. 2000. Johann Christoph. Liebertango für Flöte und Gitarre. Greub. 1983 Piazzolla. Ancona. Saint-Romuald. Canon in D Major. New York: Shattinger International Music Corp. PA: 1987. harmonics. Suite pour flûte et guitare. Sonate I pour flûte et guitare.P. Arranged by Jean-Maurice Mourat. and tamboura. The flute part of Intermezzo Pop contains flutter tonguing and one key click. Pachelbel. 1987. Intermezzo Pop. arr. 2. This collection includes Christoph Willibald Gluck Dance of the Blessed Spirits.. arr.. Patterson.1995. 52 . Pachelbel’s Canon. Richard. 1983. 1979. Johann. San Francisco: Guitar Solo Publications. Gianluca. Gabriel Faure Sicilienne from Pelléas et Mélisande and Johann Sebastian Bach Polonaise from Orchestral Suite No. Saint Petersburg: Composer Publishing House.. Arranged for flute and guitar by Jerry Snyder. Milan: Edition Margaaux. Paris: Alphonse Leduc. 1983. 1974. Richard. Arranged by Reiko Clement. Paubon. Byrn Mawr. Paris: Gérard Billaudot. Richard. Danvers. Pachelbel. 2008. The guitar part contains percussive techniques. Arranged by Klaus Jäckle. Sonate d Moll für Flöte und Gitarre. Patterson. Italia: Bèrben. Polseno. Canon in D. Pepusch. Detroit: Little Piper.G. San Francisco: Guitar Solo Publications. Three Duos for Flute and Guitar. Paganini. Flute part edited by Terry Summa.

53 . Paris: Editions Henry Lemoine. 2006. 21. Francis. and trombone. Rebay. 2000. Transcribed by Gregg Nesto. 1998. 2000. Prodigo. Reichardt. 39. Edited by Farnk Nagel. Sonata xii op. Chansons et danses d’Amerique Latine pour flûte et guitare volume c. trumpet. This three-movement composition was originally written for horn. Yvon and Georges Lambert. Paris: Editions Henry Lemoine. Radic. Johann Friedrich. 2 in D-Dur. “Elegia notturna” per flauto e chitarra. London: Chester Music. Sechs Stücke für Flöte und Gitarre. Máximo Diego. Paris: Henry Lemoine. Chansons et danses d’Amerique Latine pour flûte et guitare. 2001. Puhol. 1985. Yvon and Georges Lambert.l. Wiesbaden: Breitkopf & Härtel. Rivoal. Ancona. Edited by Armin Schmidt. Rioval. Frankfurt: Zimmermann. Ferdinand. In this collection of ten concise Latin dances both parts call for harmonics and percussive techniques (flute-key clicks). This collection asks both players to play harmonics. Violine) und Gitarre. 1976. volume e. Schatzkästlein für ein Melodie-Instrument (Flöte. 1974. Waldon. Frankfurt/Main: Musikverlag Zimmermann. This collection asks both players to play harmonics. Duo Fantasy for Flute and Guitar. Oboe. Op. Gaitzsch Geneva: Philomele Editions. 2006. Sergio. Stockholm: Syukhtun Editions. Präger. 1981. 1985.Poulenc. Dos aires candomberos pour flûte et guitare. Mainz: Schott. Geneva: Philomele Editions. Johann Friedrich. Variationen über ein Thema von Mozart für Flöte und Gitarre. Bearbeitet von Armin Schmidt.: Waldon Reed. Reed. Pütz. 2000. 2000. Chansons et danses d’Amerique Latine pour flûte et guitare volume d. Thema und Variationen für Flöte (Violine) und Gitarre. Blue Waltz for Flute (Violin) and Guitar. Heinrich Aloys. Sonate für Flöte und Gitarre Nr. Sonata: 1922 for Flute and Guitar. Ferdinand. Rebay. Paris: Editions Henry Lemoine. Theo. S. Italy: Bèrben. Reichardt. Revised by J. Introduktion. Eduard. Fingerings by Philippe Meunier. Rivoal. Gin and Tonic for Flute and Guitar. 2000. Yvon and Georges Lambert.

Paris: Editions Choudens. Carcas. Helsinki: Suomalaisen Musiikin Tiedotuskeskus [distributor]. Saint-Romuald. Serenata al alba del dia. Giovanni Battista. 2001... Sammartini. Patrick. TX: Southern Music Co. Sonate e-Moll für Violine/Flöte und Gitarre. PA: Theodore Presser Co.]. Arranged and Edited by Darryl Archibald and Gregg Nestor. Walter. Roux. Philippe. 1970. Deux pieces pour flûte traversière (ou flûte à bec alto et ténor) et guitare. Edited by Jiri Knoboch.Rivoal. Suite vespérale pour flûte ou hautbois and guitar ou violon ou guitare. Edited by Eliot Fisk. Roman. Rugeles. 2002.n. pour flûte et guitare vol. Yvon and Georges Lambert. 1987. s. Canada: Les Productions D'Oz. 1997. Paris: Gérard Billaudot. Friedrich Willhelm. 1985. [Charlottesville. 1994. Joaquin. Salmenhaara. Sarasate. Sonatina per flauto e chitarra.. Ross. Bologna: Ut Orpheus Edizioni. Eriik. Ora Pro Nobis (Nach Bach II) for Flute and Guitar. George. Alfredo. Transcribed by: Ferdinando Carulli. 1982. 54 . The typesetting for this edition is difficult to read. Bach’s Italian Concerto BWV971 for Harpsichord. Sonate in G-Dur für Oboe oder Flöte oder oder Violine und Gitarre. 1987. Joaquín. Pablo de. Edited by Karl Scheit. Byrn Mawr. Aria antiqua para flauta y guitarra. 2004. 1991. Venezuela: Fundación Vicente Emilio Sojo. Concerto for Flute and Guitar. Rust. 1978. Rochberg. Ryterband. American Composers Alliance Edition: Composers facsimile ed. Romanza andaluza. Gioacchino. 1981. Frankfurt: Zimmermann. Va. 1979 Sanchez. 1993. This piece is a reworking of the middle movement of J. Gioachino. Howard.. La danza pour flûte et guitare. Spain: Ediciones Joaquín Rodrigo. Rodrigo. Trios ballades hébraïques for Flute and Guitar. 1997. 2003. Tanguitis. Rossini. f. Rodrigo. Rossini.S. Paris: Editions Henry Lemoine. Manuscript. San Antonio. Serenade for Flute and Guitar. Rovics. Soledad for saxophone ou flûte et guitare. This collection of eight dances contains harmonics in the flute part. Blas. Transcribed by Jean-Maurice Mourat. Mainz: Schott. Rougeron. Paris: Leduc. Chansons et danses d’Amerique Latine. Wein: Doblinger. Arranged for Flute and Guitar by Irene Maddox and Doug James. Tancredi ouverture er violino (flauto) e chitarra.

Domenico. Franz. Preussische Hausmusik für ein Melodie-Instrument und Gitarre. Pastorale. Transcribed and Arranged by Rebecca Stuhr and George Torres. Asterisk. Paris: Gérard Billaudot. Domenico.: Airfield Music. 309). 2007. Satie. Flute Part Arranged by Veronica Mascaro. Arranged for flute and guitar by William Newman. Schneider. Sonatas featured are Sonata in C (K. 1997. CA. D 821 "Arpeggione" for Flute and Guitar. Sonata in A (K. Schubert. 1981. Scarlatti. 1990. Triptyque: für Flöte und Gitarre. Erik. Scherzando für ein Melodie-Instrument (Flöte/Oboe/Violine) und Gitarre. Armin. Schmidt. Robert.” Schulé. Scheidler. Frankfurt: Zimmerman. Bernard. Erik. 2007. 1982. Klassische Einfälle Für ein Melodieinstrument (Flöte/Oboe/Violine) und Gitarre. 1981. Edited by Boris Björn Bagger. 1996. Robert. Franz.. Arranged by Claudia Anderson and Silvana Scarinci. 1989. 1980. Sonate D664 für Flöte und Gitarre. Adaptation by Michael White. Wein: Doblinger. Armin. 428). 1983. Franz. 1981. Frankfurt: Zimmermann. Arranged by Jean Maurice Mourat. Christian Gottlieb. Schubert. Schmidt. Edited by Klaus Jäckle. Schumann. Sarasota. Schmidt. FL: Trillenium Music Co. The two lieder transcribed here are Gute Nacht from “Winterreise” and “Das Fischermädchen” from “Schwarengesang. arr. 55 . Transcribed by Laurindo Almeida. San Antonio: Southern Music Co. Two Songs. Six Gnossiennes for Flute and Guitar. Sonate in ré majeur pour flûte et guitare. 1993. Three Romances. Otto. Frankfurt: Zimmermann.. Arranged by Claudia Anderson and Silvana Scarinci.. Bühl: Antes Edition. Franz. Armin. Schubert. arr. Scarlatti. 1986. Paris: Alphonse Leduc.. California: Brazilliance Music Publishing. Three Sonatas for Flute and Guitar. 2002. Bühl/Baden: Antes Edition. Schubert.Satie. Davis. San Antonio: Southern Music Co. New York: International Music Co. Seven Sketches From Childhood for Flute and Guitar. Pièces froides danses de travers pour flûte et guitare. Frankfurt: Musikverlag Zimmerman. Schumann.380) and Sonata in A (K. Suite für Flöte (Altblockflöte) und Gitarre. Ave Maria für Flöte/Violine (Violoncello) und Gitarre. Arr. Sonata in A Minor. 1991.

Transcribed by Thomas Pinschof and Jochen Schubert. 1996. Prelude No.. flûte et guitare. Sigurbjörnsson. Jim. 34. Amsterdam: Broekmans and Van Poppel B. Bach to Bossa Nova.. Sirois. Thorkell. Pip van and Will Derks. This collection includes Johann Sebastian Bach Air on a G String. Norbert.” Sofianopulo. Joy! for Guitar and Flute. 1983. 1985. “L’encouragement” pour flûte (ou violon) et guitare. 1 from the Well Tempered Clavier.. 80. Temps-mieux. Franfurt: Zimmermann. arr. Marco. Oslo: Norsk Musikforlag. Ltd. 1963. Joy of Man’s Desiring. 2000. Stewart. Billy... A Thesis Submitted to the Graduate Division in Partial Fulfillment of the Requirements for the Degree of Master of Music. 1998. Skinger. PA: Theodore Presser Co. CA: CH II Music and Books. Essen: Verlag Hubertus Nogatz. Saint-Romuald. Edited by Rien de Reede. Dialoge für Flöte und Gitarre. Jerry. Claude. Classics to Jazz. Fingered and Edited by Konrad Ragossnig. Tritsch-Tratsch-Polka für Flöte oder ein anderes Melodie-Instrument und Gitarre. West Los Angeles.. 56 . 1982. 2001. Lemuel Alan. Flute part edited by Terry Summa. Sheppard. Sonata für Flöte und Gitarre. PA: Theodore Presser Co. Ivan.Shekov. Johann. Steen. Sprongl. Helvetia: Pizzicato Verlag. Claude Bolling Irlandaise from the “Suite for Flute and Jazz Piano... 1981. Suite pour flûte and guitare Op. Antonio Carlos Jobim Dindi and Once I Loved. The editor’s notes to Euro Suite state that each movement represents one of the twelve original countries to adopt the Euro as their currency. 1997. Au per flauto (dolce o traverso) e chitarra. Euro Suite for Flute and Guitar.” Gabriel Faure Pavane. Rhythmic difficulty in both parts of Joy! includes mastering the 3+2/8 meter. Frankfurt am Main: Musikverlag Wilhelm Zimmermann. Just for Friends for Guitar and Flute. Strauss. Bryn Mawr. 1992. Georges Bizet Entr’acte from Carmen. Snyder. Edited by Konrad Ragossnig. 1996. Bryn Mawr. Sor. Jesu. Siciliana from “Columbine” for Flute and Guitar. Kassel: Bärenreiter. Fernando. Otto. Siegl. 10 Duets for Flute and Guitar. op. Sleepers Awake!. 1975. Pittsburg.V. Sicilienne from “Pelleas et Melisande.. Edited by Rudolf Wangler. Ritual Dance and Sacrifice. Paris: Editions Max Eschig. Kansas: Pittsburg State University. Charles Gounod Ave Maria. Canada: Productions d'OZ.

Alfred. Teschner. Viktor. Georg Philipp. Thomas. Togobitsky. Softly and Tenderly. Les métamorphoses de cézanne pour flûte et guitare ou flûte et harpe. Spain: Editorial De Música Boileau. 1994. The Faithful Flute/Guitar Duo. 1968. Edited by Beverly Vance. TN: TootPick Publishing. Tisserand. Memphis. Sonate en ré mineur (original pour hautbois et orchestre). Sonatina semplice per flauto e chitarra. Folk music from South America for Alto Recorder or Flute and Guitar. arr. Vance. Memphis: TootPick Publishing. 2005. Howard. Howard. Jervis T. Bossa de la rue des arts pour flûte et guitarre ou deux guitares. Beginnings for Flute and Guitar. The Irish Gig. Cambridge. Paul. San Antonio. 2003. Op. Kid Swing. Arranged by Robert Hériché and J. 2002. Takács. Pastorale was originally written for wordless soprano and piano. Underwood. Arrangements with Descants for Flute and Guitar. 1993. 2000. Adulterated Children’s Songs. Hans-Joachim. Abide With Me. Jaume. Howard. Rex. TN: TootPick Publishing.. 1987. Jan. IN: Woodland Music Press. Vance. Picking On the Masters. Uy. The guitar part includes some instances of tablature. arr. 61. MA: Pierrot Press. This collection of twenty-one short folk melodies explores hemiola rhythms in various settings. Pastorale. Shall We Gather At The River. TX: Southern Music Co. Transcribed for flute (or violin) and guitar by Arthur Levering. Paris: Gérard Billaudot. Barcelona. 57 . Memphis. The Faithful Flute/Guitar Duo includes such devotional pieces as: What a Friend We Have in Jesus. 1980. Vance. arr. 1987. 1982. Tis So Sweet to Trust in Jesus. Telemann. Thierry. Divertimento für Flöte oder Violine und Gitarre. Kis Szvit-Little Suite for Flute (or Recorder) and Guitar. Guitar Repertoire With Descants. Frankfurt: Zimmermann. Maurice Mourat. Wein and München: Doblinger.Stravinsky. 2003. Wiesbaden: Editions A. Hungary: Akkord Music Publishers. Paris: Editions Henry Lemoine. Vienna and Munich: Ludwig Doblinger. Cranz. Trust and Obey. Truhlár. Arranged by Rex Thomas. Cuatro piezas breves. New York: Heinrichshofen Edition. Drei Stücke für Flöte und Gitarre. 2004. arr. Jenö. Uhl. Torrent. Anderson. Igor. 1982. 1986.

J. Heitor. Distribuição de flores pour flûte et guitare. Visée. Villa-Lobos. Sonate D-dur für Flöte und Gitarre. TN: TootPick Publishing. 2006. Wiesbaden: Breitkopf and Härtel. Frankfurt: Zimmermann. Buss Publications. Vries Robbé. Vinci. Peter. FL: Howard J. 1981. This piece is written for soprano and guitar however it is very commonly played by flute and guitar with the flutist reading the soprano line. Howard. Suite für Melodie-Instrument und Gitarre in G-dur. Willem de. Memphis.l. Edited by Christoph Jäggen and Christian Studler. Vérité. Chôrinhos et Valsinhas pour Flûte et Guitare. Arranged by Charles Delaney. Visée. Continuo realized by Ferdi Uhlmann. Roberto de. Alain. Fingerings by Andrès Segóvia. Amsterdam: Donemus. I. Heitor. Transcribed by Mike Coates. New York: Associated Music Publishers Inc. Piezas sinteticas para flauta dulce soprano (o flauta traversa) y Guitarra. Villa-Lobos. Willem de. Frankfurt: Zimmermann. Distribuição de flores. Lemoine. Vittorio. 1977. Bachianas Brasileiras no. Aria (Cantilena) for Soprano and Guitar. Johann Baptist. 1947. Vries Robbé. S. 1970. 1973. Alain. Wanhal. Vienna: Universial Editions. 5. Pavane-Sarabande-Gigue. Variationen Op 42 über Paisiellos “Nel cor Più non mi Sento” für Flöte (Violine) und Gitarre (Klavier). The TootPick Book. Buenos Aires: Barry Editorial. Vogel. Paris: H. 1990. A useful collection of two-dozen pieces appropriate for weddings and other functions. 2002. Paris: Editions Max Eschig. Mainz: Schott. Brésil pour flûte traversière et guitare.Vance.: Brazilliance Music Publishing. Edited by Matthias Henke. Heitor. Fargo. Guitar notation by Laurindo Almeida. Robert de. Twilight Reflections for Flute and Guitar. 1977. Leonardo..K. Vanhal. Paris: Henry Lemoine. Op. 2007. 1988. Danse-Arioso-Rondeau voor fluit en gitaar. Suite in c-moll für melodieinstrument und gitarre. Warlock. 58 . Lakeland. Balulalow for Flute and Guitar. 1971. 1993. Sechs Variationen über das Thema "Nel Cor Più Non Mi Sento" Für Flöte (Violine) und Gitarre. 1974. Amsterdam: Donemus. 42. Roger C. ND: Raptor Publishing. Robert de. Edited by Frank Nagel. 2005. Villa-Lobos. Vérité.

Wellington. Harri. Three Serenades for Flute and Guitar. Wolzien. Douglas.” and “La Partida. Helsinki: Finnish Music Information Center. Wood. Peters. Edited by Martin Gümbel. Aro St. and a version of Greensleeves for alto flute and c flute. Sieben Duos für Violine oder Flöte und Gitarre. Gary. Music for Flute and Guitar Vol. Duo.” “All the Pretty Little Horses. Arranged by Mary Criswick. 77. 1. Pan ja pitys-nymfi-Pan and the nymph pitys. WY Music. Wilby. New York: C. London: Josef Weinberger Ltd. 1994. arr. This collection contains Claude Debussy's En Bateau. 59 . 1983. 1986.” “Wayfaring Stranger. 1990. Vienna: Universal Edition. and Gordon Crossley. Variations Op. Cafe Suite for Flute and Guitar. Frankfurt: Zimmermann. Wissmer. Antonio Vivaldi's Sonata in A.V. Wessman. This collection includes Mauro Giuliani’s Serenade op. Wessman. 1987. Sabine.M. 1984. ed. 158. 1980. ed. Wüsthoff. Helsinki: Suomalaisen Musiikin Tiedotuskeskus. Weber for Flute and Guitar (Piano) ad.. Wensiecki. Wolzien. The composer encourages freedom with his suggested melodic and rhythmic patterns. arr. Franklin-Douglas Inc. Wessman. Ancona. Edmund. and Josef Kuffner’s Serenade op. Charles. This duet album includes: François Hünten’s Serenade. 1900’s. Duo Huilulle Ja Kitaralle. Yötä Kohti=Mot Natten=Towards the Night: for Flute and Guitar.” Some of the works contain an optional alto flute part. Italian Intermezzo. [Helsinki]: Suomalaisen Musiikin Tiedotuskeskus. Six Folk Songs for Flute and Guitar. Gottfried.” “The Keeper. Wolf-Ferrari.. lib.Wastall. Peter. San Antonio. Pennsylvania: Shawnee Press Inc. 1997..F. 37 on a Theme from the Opera “Der Freischütz” from C. Harri. New Zealand. and Susanella Noble. 1975. Ten Jazz Pieces for Flute and Guitar. Pierre. and Friedrich Willhelm Rust’s Menuette. 1980. TX: Southern Music Co. 1992. 1. Charles and Susanela Noble.” “Valencianita. 6 Miniaturen für Flöte und Gitarre. Askok per flauto dolce alto (o flauto traverso) e chitarra. Ferdinando Carulli’s. Weber. Folk melodies included in this collection are: “Barbara Allen. Italia: Edizioni Musicali Bèrben. New York and London: Boosey and Hawkes. 1987. Harri. Frederic Spina’s Serenade op.. Ermanno.

Paris: Éditions Musicales Alphonse Leduc. Daniele. 1978.Zanettovich. Cinq berceuses populaires pour flûte et guitare. 60 .

Flute and guitar rhythmic complexity: Rhythms may consist of all values and combinations. frequent syncopation. and the use of cadenzas in both parts may occur. Technical runs in level III pieces are not always based on scale patterns or arpeggiations. polyphony. Meters change frequently and use all possibilities of simple and compound meters. and complex rhythmic combinations. Moderate tempo changes. Frequent dynamic changes and extreme shifts are common (ex. frequent melodic material. Flute extended techniques: Flute extended techniques are used moderately and may include flutter tonguing. Flute and guitar dynamic range: All dynamic possibilities may be used. percussion. technical runs. tambura. Guitar texture: Guitar textures may use difficult chord and arpeggio structures. Ensemble texture/rhythm: Frequent non-complementary rhythms may be used (ex. two-againstthree). and sections of melody and accompaniment at the same time. Guitar extended techniques: Guitar extended techniques are used moderately and may include harmonics (natural and artificial). shifting from pianissimo to fortissimo within a few beats) Flute and guitar ornaments: Ornaments include all ornamental possibilities and may be used frequently. 61 . harmonics. key clicks. tremelo. and retuning of specific strings. rasgueado. use of ritardando. Meter changes from compound to simple and the reverse are common. timbral trills. and monophony and often contain short to lengthy solo and/or cadenza sections for either instrument. Textures used include homophony. and glissandi.LEVEL III: ANNOTATED WORKS Flute pitch range: The flute range includes pitches from b-3 to d-7 and contains a moderate number of leaps (up to 2 octaves wide).

The flute part includes demanding. 1992. Ottawa. Atso. II JBCC156. large leaps. 2001. Urtext Digital Classics. The guitar part is written on both treble and bass clef staves. Karlsruhe: Tre Media Musikverlage. harmonics. flutter tonguing. thirty-second notes. Madrid: Editorial Alpuerto. Instructions for the techniques are included in English. Toccata für Flöte und Gitarre. 2000.Almila. Both the flute and guitar parts of this three-movement work include challenging rhythms and extended techniques. homophonic. Finnish Works for Guitar (Helsinki: Finnish Music Information Centre (Fimic). flutter tonguing. The flute and guitar parts both include cadenza-like sections. rasgueado. The flute part contains virtuosic runs and the guitar part calls for percussive techniques.4 The flute part contains virtuosic runs. arpeggiated accompanimental material. Schweinfurt: Verlag Vogt and Fritz. The guitar part is primarily accompanimental but does include some melodic figures. Alvez. Dynamics indications are specific and change frequently in both parts. 2005). The guitar part contains rasgueado. and thirty-second notes. 1992. Peter. nonscalar runs are used in both parts. and harmonics. and hocket-like textures are used in this single movement work. and two-against-three patterns. The flute part contains grace notes and an extended technique that instructs the flutist to “blow and flap valve. Internet. A mixture of monophonic.” This edition is a facsimile. such as flutter tonguing and glissandi in the flute part. and percussive techniques. 62 . and glissandi and pizzicato in the guitar part. available from http://www. and demanding. and a range that extends to d-7. a few short solo sections. Roberto Williams. 11. Aefectos 2 para flauta y guitarra. 3 Ism Eskellnen. Amsel. and running arpeggiated material. and pizzicato. Angulo. some non-scalar thirty-second note runs. Dialogue for Flute and Guitar. The flute part includes a short cadenza. Arce. This edition is a facsimile and is difficult to read. Of Life and Death is a one-movement work by the Finnish composer Atso Almila which displays minimalist and neoclassical influences. Gabriel Fernández. harmonics.com/catalog/product_info. 1994.php?products_id=655.3 Challenging rhythms. Aefectos 2 consists of a single movement that utilizes a mix of homophonic and monophonic textures. accessed 15 July 2010. De Versus. Meter changes occur and there are recurring passages of syncopation. Eduardo. Toccata für Flöte und Gitarre was commissioned by and dedicated to flutist Miguel Angel Villanueva. frequent meter changes. Helsinki: Suomalaisen Musiikin Tiedotuskeskus. non-scalar runs. Rhythmic difficulty in both parts includes meter changes. and includes grace notes. Ontario: Bordofsky Productions.urtextonline. Of Life and Death=Elämästä Ja Kuolemasta. 4 Realismo Mágico Vol.

Assad Brothers. Dutch composer Henk Badings was largely self-taught and is known for his use of systems built on harmonic or subharmonic series and micro-intervals. 6 Bio. New York. Sergio. harmonics. double dotting. as well as instances of unison rhythms with the flute. Rhythmic challenges in both parts include meter changes and syncopation. the extensive use of harmonics and rasgueado. and leaps as large as two octaves. large leaps. Rhythmic difficulty in both parts includes numerous meter changes and rubato sections. The guitar part includes a combination of melody and chordal accompaniment. The guitar part is not entirely accompanimental and includes harmonics. 2002. The guitar part includes rasgueado and recurrent melodic material. The guitar part balances accompanimental and melodic material. and meter changes provide rhythmic challenge in both parts. Sergio Assad is a Brazilian guitarist and composer from a family rich in Brazilian musical tradition.5 The work is cast in five movements. The flute part encompasses complex rhythms. The guitar part contains ornamentation. accessed 22 September 2010.6 The flute part of his single movement work. and a few solo/interlude sections. Guitar fingerings by Douglas Hensley. Spanish Serenade for Flute/Violin and Guitar. Embers. available from http://www. Henk” in Oxford Music Online. “Badings. Paris: Editions Henry Lemoine.net/info. Circulo mágico pour flûte et guitare. Mainz. was premiered in New York City by Rie Schmidt and Benjamin Verdery in 1998. Bryn Mawr. available from http://www. Daniel. fast technical passages. 1988. Asia. Assad. Paris: Éditions Henry Lemoine. Internet: accessed 15 July 2010. Internet.oxfordmusiconline.danielasia. frequent accidentals. unusual chords. The flute part of this work contains flutter tonguing and a range that spans to c-7 and frequently calls for c-4. 1993. Badings.com/subscriber/article/grove/music/01746: Internet. 5 Work Information.asp?pgs=workinfo&work=404.assadbrothers.. Assad. The flute part of Jobiniana No 2 highlights characteristics of Brazilian music in its use of ornamentation and glissandi. Sonata for Flute and Guitar. Jobiniana No 2 pour flûte et guitare. 2000. 1996. Sergio. difficult arpeggios. Duo for Flute and Guitar.Arteaga. PA: Merion Music Inc. 63 . London.com/. Thirty-second notes. triplets.7 His Sonata for Flute and Guitar is a challenging four-movement work. The flute part includes flutter tonguing. American composer Daniel Asia’s Embers. available from http://www. The second movement requires both the flutist and guitarist to play in a free cadenza-like style. Edward. and fast technical flourishes. Henk. Circulo mágico. 7 Jos Wouters and Leo Samama. contains runs that accelerate and double tonguing. Composer Dainel Asia. Tokyo: Schott. accessed 19 September 2010. This edition does not provide a score. Acoma: Nambe Editions.

1962 Tre pezzi brevi. non-scalar runs. syncopation. and changing dynamics. Benary. and the guitar part is both accompanimental and melodic and includes percussive techniques. The flute part contains glissandi. Un-metered sections. (Valley Forge. Mountain Songs for Flute and Guitar. PA: Helicon Music. Internet. Giacomo.musiccentre. and quick. Bellucci. and double dotting impose rhythmic challenge on both parts. Extended techniques include flutter tonguing and harmonics in the flute part and rasgueado. 8 64 . thirtysecond note rhythms.cfm?fuseaction=composer. and percussive techniques in the guitar part. Firenze: Edizioni Musicali La Fattoria. The use of a piccolo is required. Rhythms are challenging in both parts. ponticello. 1984). Syncopation. Mountain Songs for Flute and Guitar. thirty-second note rhythms. triplets.8 Both the flute and guitar parts contain challenging passages of ornamentation. Siegfried. was originally written for flute and piano. iii. Valley Forge. Canadian Music Center. Norma Beecroft. written by Canadian composer and flutist. 1982. Norma. and glissandi. harmonics.ca/apps/index.Beaser.FA_dsp_biography&authpeopl eid=998&by=B. The flute and guitar typically share the melodic responsibility throughout. 9 Norma Beecroft Biography. extended techniques. 1971. Extended techniques used include flutter tonguing and harmonics in the flute part and harmonics and ponticello in the guitar part. The guitar part contains melodic as well as accompanimental material and glissandi. The flute part of Triptychon includes grace notes. trills. 1971. Rotadue per flauto e chitarra. Numerous and specific dynamic indications and articulation markings are also used in both parts. Vier Fantasien deploys dynamics from triple forte to quadruple piano in both parts. and tempo changes cause rhythmic complexity in both parts. ornamentation. accessed 20 September 2010. It was commissioned by Paula Robison and Eliot Fisk. Wolfenbüttel: Karl Heinrich Möseler Verlag. Frankfurt: Musikverlag Wilhelm Zimmermann. London: Universal Edition. Behrend. 1984. Robert Beaser. Vier Fantasien für Flöte und Gitarre. This is a collection of eight numbers based on folk music from the Appalachian Mountains. Tre pezzi brevi per flauto e chitarra.9 Unmetered rhythms require good communication between the players. PA: Helicon Music. Beecroft. Rotadue is a three-movement work in which both parts include complex rhythms and unmetered segments throughout. available from http://www. Robert. Peter. The flute and guitar are equal partners melodically. The guitar part additionally includes a cadenza. Triptychon für Flöte oder Oboe und Gitarre.

syncopation. Quebec: Les Éditions DobermanYippan.10 Prelude is rhythmically complex and demands virtuosic technique from both instruments. percussive techniques.com/bio. The guitar part contains a combination of solo. triplets. mordents. bisbiglando. Olivier. triplet rhythms. Bartok pizzicato. Arranged and Edited by Michael Fink and Arthur Ephross. accessed 20 September 2010. Berg. thirty-second notes. and cadenzalike sections. 2001. The guitar is equally partnered with the flute and plays harmonics. 65 10 .” available from http://www. Songs and Dances from the New Village. Milan: Rugginenti Editore. Marco. 1972 and 1986. Aria notturna per flauto e chitarra. thirty-second notes. jazz and ethnic music.. syncopation. Dusan Bogdanovic’s compositional style is described as a synthesis of classical. Norwegian composer Olav Berg’s Tre Mellomspill is a rhythmically challenging threemovement work. and ponticello. and quarter-note-triplets exist rhythmically in both parts. Both parts are equally difficult and include frequent triplet rhythms. 1992. Internet. San Antonio: Southern Music Co. piccolo et grande flûte. and syncopation. Oslo: Norsk Musikforlag. “Biography. The flute part includes glissandi and the guitar part features golpe. The guitar part is generally accompanimental but does also include two lengthy solos. and pitch bends. and accompanimental material that employs glissandi and mordents and the flute part contains demanding runs and ornamentation. rasgueado. 2007. Sonate pour flûte et guitare successivement flûte basse ou grande flûte. A variety of textures and general rhythmic complexity appear in this one-movement work. Dusan.Bensa. Tre Mellomspill for Flute and Guitar. Paris: Henry Lemoine. Prelude. Bass flute. 2000. the use of thirty-second notes. The flute part contains difficult runs. Yugoslavian composer and guitarist. and c-flute are required. and harmonics. piccolo. tambura. double dotting. Dusan. Olav.html. Francois. Québec: Les Éditions Doberman-Yppan. syncopation. melodic. Rhythmic complexity in both parts of this one-movement piece includes meter changes. Saint-Nicolas. Bogdanovic. The guitar part contains rasgueado and often plays melodic material. Borne. The flute part of this five-movement work includes some rapid runs. This edition is a facsimile. Challenging rhythms featured in both parts include complex meter changes. 1993. Meter changes. Betta. This well-known nineteenth-century flute and piano theme and variations on Carmen contains technical acrobatics in the flute part. Carmen Fantaisie from the Opera by G. Dusan Bogdanovic.dusanbogdanovic. Bizet. Bogdanovic. and sixty-fourth notes. Rhythmic challenge in both parts includes frequent complex meter changes that sometimes involve the flute and guitar playing in different meters simultaneously. Thirty-second notes are used habitually in both parts. harmonics and pitch bends. grace notes.

The guitar part comprises melodic accompaniment. the title of the work refers to. some syncopation. The guitarist must read in both treble and bass clef in this facsimile edition. Kassel: Bärenreiter. Howard J. 1990). Rhythmically the piece contains meter changes. FL: Brixton Publications. Wave Train for Flute and Guitar. FL: Brixton Publications. Amsterdam: Donemus. (Lakeland. September 26. 7. 2006. 1980. syncopation. “Burkhard.12 Serenade is four-movement sonata published in facsimile.com/subscriber/article/grove/music/04375. Will Gay. the flute part contains flutter tonguing and double-tonguing.Borne. François. tempo changes. and golpe. A simpler guitar part occurs here. Brotons. Willy” in Oxford Music Online. In this three-movement work. harmonics. No. harmonics. chordal accompaniment. and cadenzas. The flutist is required to triple tongue and the guitarist is required to play tamboura. 13 Howard J Buss. thirty-second notes.13 The flute part is melodic and includes ornamentation. Tre divertimenti. available from http://www. Buss. “the title of a fine poem in a Boston newspaper. syncopation and two-against-three figures are used in both parts.oxfordmusiconline. The score is clear and easy to read and provides guitar fingerings. The title of this work was inspired by musical acoustics and refers to a succession of wave crests and troughs. thirtysecond note figures. Fantaisie brillante sur l'opéra Carmen de Georges Bizet pour flûte et guitare. tremolos and a few solo sections. Willy. Burkhard. dotted rhythms. Heidelberg: Chanterelle Verlag. accessed 22 September 2010. Extended techniques used include flutter tonguing and harmonics in the flute part. pizzicato. and 11/8 as well as vivace tempos in the first and third sections contribute to the difficulty of this piece. Serenade für Flöte und Gitarre. This is an alternative edition of Borne's Carmen Fantaisie. Op. Leave Something Unexplained. Internet. quick technical runs. 12 11 66 . New York: American Composers Alliance. imitative style similar to that of Hindemith and Bartók. e-mail from the composer. 1. Rhythmic difficulty here is exemplified by sections of three-against-four. Edited by Jozef Zsapka. These three homophonic divertimenti are rhythmically challenging and include melodic material that is presented in both parts. Fritz Muggler and Ernst Lichtenhahn. 1976. and slides. Meter changes between 4/4. and frequent triplets. Jim ten Boske. meter changes.”11 Bottje. 1935. Lakeland. 1999. Willy Burkhard is a Swiss composer whose music has been described as having a contrapuntal and strictly linear. Brief Candles for Flute and Guitar. 3. 1990. Wave Train for Flute and Guitar. 2/2. According to the composer. but the guitar does have to re-tune the fifth string to G and then to A. Meter changes. 2010. Barcelona: Editorial de Música Boileau. Boske. Salvador. Jim Ten. and tremolo in the guitar part. and recurring triplet rhythms in both parts.

oxfordmusiconline.. Rhythmic challenge in both parts includes meter changes. Claude Debussy. scales. and publisher from Queens. ornamentation.l. Christopher Caliendo is a guitarist. Los Angeles: Caliendo World Music Publishing. Castelnuovo-Tedesco. “Castelnuovo-Tedesco. CA: Caliendo World Music Publishing. however there are no instructions to clarify this.15 The influence of both Flamenco and American jazz are apparent in Sincerita. and quick. The flute part also includes grace notes. Mario. and both melodic and accompanimental material. 14 Victoria Jicha. Christopher. 15 67 . S. triplets. 1969. and thirty-second note arabesques. gypsy and world music. frequent syncopation. Mario” in Oxford Music Online available from http://www. The a-3 is perhaps a misprint. Tacho drom for Flute and Guitar. renewed 2006). Zeitgeist for Flute and Guitar. 17 James Westby. Nancy. The flute part additionally contains moderately difficult technical runs and ornamentation. and the use of tremolo. fast technical passages. articulated technique. Tacho Drom for Flute and Guitar. and accents that off-set the beat provide challenge in both parts. Zeitgeist is an unpublished handwritten score that extends over four short movements. 205 pour flûte et guitare. 19--?.” 16 The flute part contains melodic material primarily. the flute part contains flutter tonguing. linear melody. a few arpeggios. “Christopher Caliendo. 2006 April. Carroll. Level III is assigned due to flutter tonguing and downward glissandi in the flute part as well as frequent syncopation in both parts. and fast. 8. Texturally this piece mixes homophonic and polyphonic sections. The flute part contains a range of a-3 to c-7.: s. and Maurice Ravel. Rome: Editions Max Eschig. Additional compositions by Christopher Caliendo can be found in levels II and III. Note that the sixth string of the guitar is tuned to D in the third movement. rasgueado and glissandi. The guitar part is represented by chord symbols. quarter-note-triplets. which he feels are lacking in the flute repertoire. The guitar part includes block chords. Los Angeles: Caliendo World Music Publishing. non-scalar technical passages.Caliendo. The guitar part contains harmonics. 16 Christopher Caliendo. Tacho drom is inspired by “Gypsy healers entering the ancient woods to commune with the spirits guiding them towards their destiny.17 In his three-movement Sonatina.” Flute Talk. Caliendo. 7.n. renewed 2006. chordal and arpeggiated accompaniment. Edited by Konrad Ragossnig. 2001. Ibid. grace notes. New York who has published thirty-six flute and guitar duets to date. Quick tempos. accessed 22 September 2010. flutter tonguing. moderately challenging technical runs. Christopher. and flutter tonguing. trills.14 Many of his flute and flute and guitar compositions focus on expanding the repertoire of tango. Mario Castelnuovo-Tedesco was an Italian composer influenced by Ildebrando Pizzetti. 2002. 2001. Internet. Sonatina op. His most recognized contribution to classical music is his body of almost one hundred works for the classical guitar. thirty-second notes. 1.com/subscriber/article/grove/music/05128. numerous tempo changes. a range that extends to c-4. composer. Sincerita for Flute and Guitar. (Los Angeles.

Sic per flauto e chitarra.. and single-lined accompaniment as well as melodic doubling. Chiereghin. The third movement is in theme and variations form and includes difficult rhythms. Frequent complex meter changes are included in both parts.18 The main difficulty present in his three-movement work. and some challenging technical runs. and quick technical runs. 1992. 68 . This five-movement work utilizes flute. Extended techniques used include flutter tonguing for the flute and harmonics for the guitar.. 19 Jonathan Chenette. Padova: G. one-movement work. The alto flute part uses flutter tonguing. Milan: Ricordi. Edited by Paolo Muggia. 18 Gérard Condé. Quattro tempi per flauto e chitarra. 1973. Zanibon. The guitar plays harmonics and rasgueado. Sergio.: s. Rhythmic challenge in both parts includes meter changes that include complex meters.com/subscriber/article/grove/music/05130.oxfordmusiconline. Jacques”in Oxford Music Online. 1991. Fast Track for Flute and Guitar.Castérède. (S. the alto flute sections are not transposed. Jacques. Brussels: CeBeDeM. It was commissioned for the Boland-Dowdall Duo and inspired by Sam Gilliam’s 1992 art print “Fast Track. 1. melody. Niccolò. 35. Castiglioni. and piccolo.n. In this facsimile edition.: s. His style is described as favoring tonality. S. alto flute. Jonathan. The guitar part contains melodic. Sonatine d'avril pour flûte et guitare. available from http://www. is the quick running sixteenths contained in both the flute and guitar part throughout most of the first and second movements. The first movement also demands whistle tones from the flute. Celis.l.n. meter changes. Ornamentation is required in both parts. 1991). Internet.”19 The flute part contains challenging technical runs and frequent grace notes. Fritz. 1992. Duo concertante per flauto alto e chitarra. rhythmic. This four-movement work unites a variety of textures and complex meters. “Castérède. Sonatine d'avril. Fast Track is a rhythmically challenging. chordal. This score is presented as a facsimile. 1989. large leaps and challenging runs. Chenette. This one-movement work for alto flute and guitar includes challenging rhythms. Rhythms are difficult and meter changes are frequent and complex. Fast Track for Flute and Guitar. accessed 22 September 2010.l. and several tempo changes in both parts. and regular pulsation. Paris: Alphonse Leduc. Jacques Castérède studied composition with Tony Aubin and analysis with Oliver Messiaen. op. meter changes.

The melodic flute writing in this opus features harmonics. and some melodic material. block chords. Jim. Its title meaning “evening” or “twilight. Contrastes. 1973. Paraphrase of “Recollections for Theofilos. 20 Jim Clarke: Details of Selected Works. Extended techniques in both parts include flutter tonguing in the flute part and glissandi and harmonics for the guitar. dotted rhythms. The flute part contains grace notes and chromaticism.com/JCblurbs. 1. Houston: Bolsover Press. Musique à deux pour flûte et guitare. available from http://www. Cantilène. arpeggios. Paris: Editions Max Eschig. Constant. Patrice. 3. Philadelphia: Kallisti Music Press.l.” the work is described by the publisher as an “extraordinarily beautiful piece for flute and guitar takes an appropriately quiet. At one point the performers are instructed to freely dance and stamp their feet for a minimum of thirty seconds. thirty-second notes. B-3 is used in the flute part but marked optional. syncopation. Deutschland: Lothringer Verlag. arpeggios. Frequent meter changes and both quarter note and half note triplets exist in both parts. melodic material and a few brief solos. frequent complex meter changes. 1993. This work is inspired by remembrances from the past and is based on the composer’s Greek heritage. meandering tone. Edited by Holger Stefaniak. Onde.: Magni Publications 2001. The flute range extends to c#-7. ties. harmonics. accessed 22 September 2010.html#vespertine. This is a rhythmically complex single movement work that incorporates challenging technical passages for both instruments.Chopard.:Magni Publications 2001). Dynamics change frequently and include numerous crescendos and diminuendos in both parts. Each of the three-movements here contains a panoply of textures. 1997. The guitarist plays block chords. Tom. and syncopation. Clarke.” (S. Musique à Deux comprises three movements: 1. Franz. Airs and Islands for Flute and Guitar. Internet. 21 Dinos Constantinides. and the use of thirty-second notes.21 This edition is an adaptation of “Recollections for Theofilos” for solo saxophone. Much easier to play than most of Clarke's music-and highly rewarding as well. 69 . Paraphrase of “Recollections for Theofilos” for Violin or Flute and Guitar. Serenade for Flute and Guitar. 2003. and frequent meter changes. S. The texture is primarily homophonic with technical passages passed back and forth between the flute and guitar in the quicker section. The piece is highly rhythmic with an abundance of syncopation. The guitar part contains frequent short solos. 2.l.”20 Clarke. Both parts include meter changes between compound and simple meters. Constantinides. Dinos. Vespertine Paths for Flute and Guitar. some extended techniques. The guitar plays rasgueado.kallistimusic.

accessed 22 September. unison rhythms. Instructions for the extended techniques are supplied only in Italian. “In comedy.cfm?pagename=works#. New York: Peer Music Classical. Cortés.24 Variationen über ein Eigenes Theme contains repeated syncopation and meter changes in both parts. Both parts involve thirty-second notes. 1981. Fantasia mulata para flauta y guitarra. and tamboura along with chordal and arpeggiated accompaniment. and key clicks in the flute part. this seven minute composition is a musical tip-of-the-hat to Lucy. Ancona. Yo amaba a Lucy means “I Loved Lucy” and was inspired by Lucille Ball from the television show “I Love Lucy. string muting. one of television's most original and sophisticated comedians. 2010. accessed 22 September 2010. 1987. The flute part additionally contains double tonguing and flutter tonguing while the guitar part incorporates slides. harmonics. available from http://www. 1995. ‘timing’ is everything. large leaps. golpe. “David. Saint-Romuald. Johann Nepomuk David was a twentieth century Austrian organist and composer whose works are described as maintaining strong connections with tradition while incorporating contemporary elements. harmonics. Both parts include extreme dynamics. available from http://www. The guitar part contains a solo section. Rhythmic challenges include three-againstfour and half-note-triplets. Michael Lorimer. and syncopation. and glissandi. Wiesbaden: Breitkopf and Härtel. This piece belongs at the upper echelon of Level III repertoire.com/n/biography. and my sense of musical timing has been greatly influenced by watching great comics like Lucy at work. pitch bends and key clicks. available from http://ernestocordero.”23 Texturally it is a fusion of flute and guitar solos. Daugherty.michaeldaugherty.oxfordmusiconline. Internet. Description of Works.php. 24 Josef Häusler. The flute part embodies quartertones.” The composer writes. La danza de selene.com/subscriber/article/grove/music/07274. Italy: Bèrben. and flutter tonguing. 70 22 . Juan Manuel. Canada: Les Productions D’OZ. Internet. Extended techniques for the guitar include percussive activity.22 Fantasia mulata is a rhythmic one-movement work with challenging technical runs. The guitar part contains a cadenza section. and glissandi. accompanimental material. The flute part encompasses a range of b-3 to d-7. flutter tonguing. David. La danza de selene unfolds through a pair of movements. Johann Nepomuk” in Grove Music Online. meter changes.net/index. thirty-second note runs. and melodic exchanges. Johann Nepomuk. 23 Michael Daugherty. Yo amaba a Lucy for Flute and Guitar. flutter tonguing. Ernesto. Michael. and melodic and accompanimental material. With its Latin guitar grooves and percussive flute gymnastics. Biography of Ernesto Codero. Variationen über ein Eigenes Theme für Flöte und Gitarre. Edited by Karl Scheit. Ernesto Codero is a Puerto Rican guitarist and composer whose works have a Caribbean flavor.Cordero. Internet. 1998. accessed 22 September 2010.

accessed 23 September 2010." In Grove Music Online. 119. and frequent meter changes.Diemer. lucidity of texture and rich chromaticism. Op.” available from http://www.oxfordmusiconline. "Dodgson. pitch bends. as well as episodes in which the guitar is playing in 2/8 while the flute is in 6/16. The flute part contains multiphonics and quarter-tones and the guitarist plays harmonics.html. Carlo. Oxford Music Online. London: Schott and Co. Internet. 1984. Sonate op. 71 . The flute and guitar part share melodic responsibilities in this one-movement sonata. The flutist plays quick runs. 1993. The guitar part uses pizzicato and ornamentation.25 The piece is rhythmically challenging and includes a mostly polyphonic texture that enlists the flute and guitar as equal partners. Serenata Notturna für Flöte und Gitarre. A Certain Slant of Light. New York: Seesaw Music Corp. trills.26 His Capriccio for Flute and Guitar is rhythmically advanced. Edition Margaux. Stephen. 9/16. 1980. 1996. 27 Carlo Domeniconi. and ornamentation are featured in the flute part. Stephen Dodgson is an English composer whose works are described as tonal and traditional but filled with lyricism. Chakras per flauto in sol e chitarra. Domeniconi. 1996. Capriccio for Flute and Guitar. large leaps. difficult rhythms. Edited by Monika Ritter von Hattinberg.my-favourite-planet. Caspar. Winter Afternoons is an impressionistic/romantic/improvisatory dialogue written for the Felber-Century Duo in 1989. Winterthur/Schweiz: Amadeus Verlag. The work is thus described by the composer: “free counterpoint. “List of works with descriptions by the composer. Winter Afternoons. Winter Afternoons.de/carlodomeniconi/english/works. and grace notes. 25 Emma Lou Diemer. Basel: Pizzicato Verlag Helvetia. Diethelm. A Certain Slant of Light. Flutter tonguing. accessed 22 September 2010. A Certain Slant of Light.com/subscriber/article/grove/music/07915. as well as graphic pitch and rhythm notation. Emma Lou. Meters such as 6/16. 1993). 2/8 stand out. 26 Malcolm Miller. Challenging rhythms and demanding technical passages are present in both parts of this single movement work. Franco. Dodgson.”27 Dominutti. The alto flute and guitar are equal partners in terms of melodic material and difficulty here. 1. (New York: Seesaw Music Corp. bordering on atonality. Berlin: Verlag Neue Musik. 37 für Flöte und Gitarre. The guitar part is not accompanimental and contains some harmonics. Ltd. available from http://www. Internet. There are many accidentals and virtuoso technique in both parts.. technical virtuosity. Stephen. Extended techniques used include key clicks in the flute part and harmonics and ponticello in the guitar part. It features extended techniques. Rhythmic challenge involves unmetered segments and instances of five-against-eight. simultaneously the piece never loses a tonal core.

Motive and Five Variations for Solo Flute. and difficult meter changes are present in both parts. By turns. Doran. Edited by Frank Michael and Andreas Grün. Rhythmic difficulty in both parts includes multiple meter changes. and harmonics. West Hollywood: Brightstar Music Publications. accessed 23 September 2010. syncopation. KY. PA: Theodore Presser Co. The quicker movements call for technical skill in both parts. accessed 23 September.. after Rodin for Flute and Guitar. Serenade to Eve.com/pn-eve.. thirty-second figures. 2010.31 The flutist undertakes virtuosic thirty-second and sixty-fourth note runs through a range that extends to b-3 in this work.” Quick tempos. trying to make the bronze sculpture smile. 1999. after Rodin was inspired by a performance by the composer at Philadelphia's Rodin Museum. 28 72 . Dressler.htm.Doran. 2000. The guitarist undertakes primarily chordal and arpeggiated accompaniment. Edited by Harold Micay. Matt. quarter note triplets.….” and “no smiling. 2010. Denver: Alry Publications. and triple dotting. 31 Rick Wilson.29 After this performance he decided to write a serenade to Rodin’s Eve.” available from http://www. “tonal in the sense of hovering over tonalities without actually setting down. The melodic material in the piece is shared between instruments in this four-movement collection. the performers are instructed to “look at the audience.” available from http://www. “Raphael Dressler. Five Movements for Flute and Guitar. Dorff. 1978.danieldorff. Raphael Dressler lived from 1784–1835 and was an Austrian flutist and composer who published the flute method.” “smile at the audience. Internet.com/charts/dressler/dressler.” available from http://www. The flute part also relies upon a range extending up to c-7. “Matt Doran . Matt.rhythmically and harmonically vital and provides interesting challenges for performer. 29 Dainel Dorff. 30 Ibid. JB Linear Music. trills. New and Complete Instructions for the Flute. His music is described as. Raphael. where the composer was so fascinated by Rodin’s sculpture of Eve that he began “playing (his clarinet) to her in an almost courtly way. pitch bends. Bryn Mawr. “Program Notes by the Composer.aspx. accessed 23 September. Serenade to Eve. Variations on a Romance by Méhul for Flute and Guitar.oldflutes. challenging rhythms. Daniel. 1985. Frankfurt: Zimmermann.com/claraschumanntrioforclarinetcelloandpiano-pdfdownload-11-1. Rick’s Historical Flutes Page. Internet. progressing from empathy to solace.music4woodwinds. Matt Doran is a flutist and composer from Covington.”28 The flute part of Five Movements incorporates quick non-scalar runs while the guitar part includes solos and frequent melodic material.30 The flute writing highlights grace notes.htm. Both parts use thirty-second and sixty-fourth notes. Suite for Flute and Guitar. two-against-three.

René. The guitarist is required to play harmonics. harmonics. 30. Erbse. The flutist is required to play bass flute. rasgueado. meter changes. and double dotting. and all means for survival are welcome. and graphic pitch and rhythm notation occur in this one-movement work.htm. Modus Vivendi for Flute and Guitar.Duarte. (6/16. Frankfurt: Zimmermann.”33 Naxos Online. piccolo. This four-movement suite includes meter changes and frequent syncopation. “John W. 2001. 1975. The guitar part contains both accompanimental and melodic material as well as slides and harmonics. These three studies are rhythmically demanding for both instruments. Uirapurú for Oboe or Flute and Guitar. The flute part also contains improvisational sections and taxing technical runs. John. The guitar part is difficult and includes both accompanimental and melodic material. 3/16. Rhythmic challenge includes meter changes. The flute part encounters large leaps. unmetered sections. Both parts perform short solo sections. 2/4. London: Chester. alto flute. 1986.htm. flutter tonguing.erpmusic. The composer designates when the guitar part is solo and when it is accompanimental. accessed 23 September 2010. Tom. There are various passages indicating the flute transpose an octave higher. The flute part is lyrical and includes glissandi. accessed 23 September. Eastwood. and ornamentation. Heidelberg: Chanterelle Verlag. Uirapurú contains multiple meter changes and challenging rhythms.etc). A mélange of textures. John Duarte is an English composer and pedagogue who has produced over 130 works for the guitar and lute. The work is described as “a picture of the turbulent lifestyle of our time. 1980. difficult rhythms. Heimo. Drei Studien für Flöte und Gitarre Op. Duarte. Duarte. e-flat flute. 1983. The piece was originally conceived for oboe. triplet rhythms. Lilienthal/Bremen: Eres Edition. 73 32 .com/person/John_Duarte/19154. Dynamics change dramatically and are extreme in both parts. 2010.” available from http://www. flutter tonguing and a range extending down to b-3. available from http://www.naxos. Un Petit Jazz for Flute and Guitar. Wien: Verlag Doblinger. Internet. 33 Igor Garshnek.com/p_EestiPortreed. The guitar part requires the sixth string to be tuned to D and contains descending glissandi. Liner notes to Duo Concertante’s CD Portraits of Estonia. Eespere. and c-flute as well as to perform whistle tones and flutter tonguing. John W. and a sixth string that to d.32 The flute and guitar share the melodic argument throughout The Memory of a Dance. The opening and closing of the piece is unmetered. The Memory of a Dance for Flute and Guitar. Internet.

Feliciani. The flute part of this one-movement work uses large leaps. and the use of piccolo. available from http://www. and harmonics. however the rhythm is traditionally notated with a specified pulse. singing and playing.: s. Italy: Bèrben. Ferrari.com/subscriber/article/grove/music/09430. Internet. Flute difficulty in this work consists of flutter tonguing. The five movements of this work are each named after a major constellation.d. and thirty-second note groupings for both players.34 Divertimento is a four-movement work with quick and tricky rhythms in both parts. glissandi. Frank. Dialogue for Flute and Guitar. Edited by Salvatore Lombardi and Piero Viti. 1981. Divertimento für Flöte und Gitarre. during a third compositional period characterized by brilliant technique and individuality in which he was using a process of synthesis. Paul. Padova: G. and flutter tonguing and the guitar part deploys accompanimental material and rasgueado. No time signatures appear. Giorgio. 2000. Serenata no. The guitar part additionally contains harmonics. "Feld. Paul. and rapid ad lib flourishes. and fingernail scraping in the guitar part. Both the flute and guitar parts contain tremolo. The flute and guitar roles are equally difficult and equally important melodically. 2000. This is a collection of miniatures. Edited by Stephan Schäfer. Guitar part edited by Jeffrey Van. Fetler. The flute part involves flutter tonguing. Challenging rhythms in both parts consist of abundant ties and syncopation. Ferko. rotating the entire body of the guitar in circles back and forth while holding it in a normal lateral position. The guitar part includes one-lined rhythmic and arpeggiated accompaniment as well as tambora.oxfordmusiconline. Karel Mlejnek. Fetler. The work contains the use of extended techniques including quarter tones and pitch bends in the flute part and harmonics. Both instruments additionally have solo cadenza-like sections. Köln: P. no date. Meter changes are frequent and quarter note triplets are used in both parts of this handwritten edition. three against two. Jindřich. 2 per flauto e chitarra. and frequent meter changes between simple and compound meters. He wrote Divertimento in 1996." In Grove Music Online.Feld. 34 74 . Six Pieces for Flute and Guitar.. Tonger Musikverlag. ornamentation. Jindřich. There are significant ensemble challenges in this piece. and challenging strings of notes. Others employ meter changes.J. Zanibon. accessed 23 September 2010. some of which are unmetered and contain the frequent use of free arabesque figures. Boston: ECS Pub. The guitar part includes slides.. n. Silvio.n. Oxford Music Online. This edition is handwritten and difficult to read. rasqueado. whistle tones. Il canto della quena per flauto e chitarra. New York: Associated Music Publishers. Ancona.l. S. 1979. syncopation. Jindřich Feld was a Czech composer who began his musical education as a string player. Constellations for Flute/Alto Flute and Guitar.

Keith. accessed 24 September 2010. rasgueado and a “fingers on the wood” indication. Harald.com/bio.flagello. and flutter tonguing. accents. Meter changes. American composer Nicolas Flagello’s compositional style reveals a distinctive mode of expression based on European late-Romanticism. 2000. three-movement work contain swift scales and difficult rhythms. Internet. F. LA: Carriage House Publications. Barcelona: Clivis Publicatins. and triple dotting are used in both parts. twentieth century German composer. Additionally the flute part contains flutter tonguing. The flute part contains challenging embellishments and flutter tonguing. 2000. 2005. numerous meter changes. acrobatic passages. triplets. Colori e oro su seta sonatina per flauto e chitarra. and harmonics. Demanding rhythms. a significant. accessed 24 September. melodic elaboration. the guitar writing includes slides and the flute part features ornamentation. and melodic figurations. 36 “Genzmer. The guitar part contains solo episodes. and triple tonguing. Harold Genzmer. and syncopation in both parts. syncopation. Milano: Casa Musicale Sonzogno Di Piero Ostali. The guitar part employs ornaments. Lake Charles. Galante.Flagello.editionpeters. 2010.35 Burlesca is a one-movement work with showy passages. double dotting. A variety of textures are employed in this energetic.com/php/artist_details. Harold Biography. was influenced by and studied with Paul Hindemith.” available from http://www. involved accompanimental material. quarter note triplets. 1989.php?artist=GENZMER&section=composer. syncopation. 1964. two-movement work. Meter changes. Gates. 3.. Burlesca for Flute and Guitar. The flutist plays challenging scales over a range that extends to b-3. Inc. Capricho Concertante No. Both parts of this colorful. Demanding rhythms exist in both parts and include frequent meter changes. Flutter tonguing and grace notes for the flute are matched by guitar glissandi. Fantasie-Sonate für Flöte und Gitarre.” available from http://www. and frequent displaced accents are engaged in both parts. and the guitar part contains melodic material.36 In his four-movement Fantasie-Sonate. New York: General Music Publishing Co. chordal accompaniment. and unusually placed ties.htm. syncopation. Fleta Polo. “Nicolas Flagello. 75 35 . and syncopation are featured in this threemovement work. Biographical notes. Carlo. Berlin: Ries and Erler. Genzmer. Internet. triplet figures. Sonata for Flute and Guitar. Nicolas. frequent meter changes.

New World Dances for Recorder (or Flute) and Guitar (or Harpsichord or Piano). thirty-second note figures.38 Rhythms in both parts are difficult and include syncopation. is the final piece in a series constructed using fragments of material from Piazzolla’s St. [Newport. 1982. and thirty-second note figures are used in both parts. Music for Kites. South Wales. available from http://robertgibsonmusic.. This piece qualifies as level III due to the extended techniques used. thirtysecond note rhythms. Pacific. accessed 24 September 2010.37 The sketches in the piece develop quickly from an initial idea and use the guitar as a melodic vehicle to convey the concept that these pieces are line drawings." In Grove Music Online.stephengoss. accessed 24 September 2010. The score is handwritten. 1988. Golland. Stockholm: STIM/Svensk Musik. This one-movement work is characterized by very detailed and specific dynamic indications that include frequent crescendi and decrescendi as well as sforzandi in both parts. accidentals.”40 The flute part of the work contains large leaps.html. New World Dances is a suite of dances including ragtime. Stephen. available from http://www. eventually becoming inseparable as the piece drives towards its inevitable climax. 40 Stephen Goss. Three Sketches was inspired by the sense of spontaneity that visual artists can achieve in sketches and studies. quarter note triplets. Robert. Program Notes. glissandi and flutter tonguing. 80-04. and polyphonic textures. MA: Doran Publications Inc. and syncopation. Glaser. Robert Gibson. at bar 45.com. Internet. Composers website. Last Tango. 39 Otfried Richter. United Kingdom]: Cadenza Music. Syncopation. it refers directly to his Histoire du Tango. and bossa nova. Needham. 2002. Oxford Music Online. The guitar part is accompanimental and includes finger snaps. Internet. double dotting.Gibson. Werner Wolf. Both parts include frequent meter changes. 38 Ibid. John. The flute part includes ornamentation. and meter changes.oxfordmusiconline. Last Tango for Flute and Guitar. accessed 24 September 2010. abstruse rhythms. "Glaser. 76 37 . Gill. Louis en L’ile As the tango progresses so these two contrasting ideas intermingle. quarter note triplets. Stephen Goss’s describes this work as. Jeremy.39 Duo För Flöjt och Gitarr in one-movement contains several tempo changes and a patchwork of homophonic. 1981. Rhythmic demands such as meter changes. blues. and the use of thirty-seconds exist in both parts. Manchester England: Forsyth. Internet. The score is a copy of a handwritten manuscript and is difficult to read. monophonic. Three Sketches for Flute and Guitar. MO: Mel Bay Publications Etc. First Milonga.net/compositions. triplets.com/subscriber/article/grove/music/11259. and chromatics and the guitar part contains glissandi. Werner Wolf Glaser is a Swedish composer of German descent who studied composition with Paul Hindemith. Rhythmic difficulty also exists in both parts and includes meter changes from simple to compound. Goss. Duo För Flöjt och Gitarr. available from http://www. and some syncopation. Werner Wolf. “First Milonga was written as an elegy in the week following [Astor] Piazzolla’s death in 1992.

ties. 43 Ibid. The score is a legible copy of a handwritten manuscript. and controlled vibrato. The flute part contains large leaps. 2007). Eloge för Bibi Anderson flöjt/eller oboe/och sitarr version 2. and frequent harmonics. and double dotting.J. 1996. 1. The guitar part is not entirely accompanimental. Stockholm: STIM/Svensk Musick. Köln: P. Edited by Stephan Schäfer. Boston. Tonger Musikverlag. syncopation. syncopation. Hilding. Hilding Hallnäs is a Swedish composer whose compositions are described as both impressionistic and expressionistic. Rhythms are challenging and include meter changes.43 The flute part contains low flutter tonguing. Història d’una Cigarreta (“The History of a Cigarette”) was written for Montserrat Gascón and Xavier Coll. The guitar part is mostly accompanimental but also has a few short solos and uses glissandi and harmonics. ornamentation. and the use of thirty-seconds. Hallnäs. harmonics. Delicate Balances. The flutist is required to flutter tongue. 1998). Harmonics are used in the guitar part. Colin. 1. 42 Stephen Gryc. "The title Delicate Balances refers to both a principal goal of duet composition as well as to the light. key clicks. Malmö: Anderssons Musikförlag. (Pacific. Delicate Balances. and the third movement builds upon ostinati that grow out of an opening guitar solo. 3 Dialoger för Flöjit och Gitarr. Armand Grèbol. Stephen. rasgueado. In Nomine I for Flute and Guitar. Edited by Richard Provost. 1978. and slides. triplets. MO: Mel Bay Publications. This theme and variations divides melodic responsibility between the flute and guitar. 80. Grims-land. 77 41 . … The music is highly chromatic but essentially tonal. Meter changes occur frequently. (Köln: P. The guitar part contains solo sections. Tonger Musikverlag. Història d’una Cigarreta für Flöte und Gitarre. England: Lindis Edition. Handbook of Guitar and Lute Composers. flutter tonguing.44 3 Dialoger is a three-movement work that has varying textures. This is a two-movement work replete with meter changes. 1998. Gryc. 1. The guitar part frequently includes melodic material and also tamboura. Hand. fleeting tones produced by the flute and guitar. (Toronto: Acoma Nambe Editions. rasgueado."42 The work contains three movements. ornamentation.41 It contains three movements and is homophonic in texture. Ebbe. 44 Hannu Annala and Heiki Mätlik. harmonics as well as double tonguing and ornamentation. 1975. thirty-second figures. Toronto: Acoma Nambe Editions. Història d’una Cigarreta für Flöte und Gitarre. the second movement features guitar harmonics. According to the composer.J. Armand.Grèbol. 1996). ties. and was premiered in November of 1991. The first movement explores the flute’s low register. 1978.

Additionally the flute part includes a short cadenza. 1. The piece also contains some moderately challenging quick technical passages in the second Excursion. “Composers. thirty-second notes. This is a rhythmically and technically demanding three-movement work that won the International 'Jeunesses Musicales' prize in 1967. The guitar plays both a melodic role and an accompanimental one. The option of playing the low b's up an octave is suggested by the composer. Rhythmic challenge in both parts includes frequent meter changes. Hans de. The four movements of this light-hearted suite are titled Prelude. Four Excursions is appropriate for level III due to the use of flutter tonguing and the appearance of b-3 in the flute part. Internet. 1972. 1995. This volume is comprised of the composer’s Music for Flute and Guitar and A Psalm of Thanksgiving. Frederic. New York: Boosey & Hawkes. and grace notes. Heer. triplets. Four Excursions for Guitar and Flute. Suite for Flute and Guitar. Both the flute and guitar part contain virtuosic scales in this three-movement work. 78 . NY: Cherry Lane Music. Heer. accessed 24 September 2010. Thirty-second note figures at a presto tempo occur as well as syncopation. 1976. The guitar writing includes harmonics as well as melodic and accompanimental material. 3 for flauto and gitarra. Frederic. The guitar part contains a both accompanimental material and melodic figures. Ballad. 46 Van Teeseling Music Publishers.” available from http://vanteeseling. Port Chester. Rhythmic difficulty in both parts includes meter changes. As the composer mentions in the introduction. These are simple level III works. syncopations. some ornamentation.nl/composers. In addition. Hans de. and some syncopation. Music for Flute and Guitar by Frederic Hand. Rhythmic challenge includes some syncopation and thirty-second notes in both parts. the first and third Excursions are simple and folk-like. Bryn Mawr. while the second and fourth are more intricate and contrapuntal. This is an easy level III piece. and flutter tonguing. The guitar part contains melodic as well as accompanimental material. Amsterdam: Donemus. 1982.php. rhythms are difficult and include meter changes. dotted rhythms. Amsterdam: Donemus. and multiple meter changes. Leonard. and sixty-fourth note figures in both parts. Sonatine No. and Square Dance. Sonatine No. flutter tonguing. Four Excursions for Guitar and Flute. The flute parts contain a range of b-3 to b-6. Fantasy on an English Tune. (New York: Boosey & Hawkes. 45 Frederic Hand. 1971. Handler. This is a copy of a handwritten score. PA: Theodore Presser Co. 1971).45 Hand. 2 voor fluit en gittar.Hand.46 The texture of the piece varies and the flute part contains flutter tonguing.

and fast runs comprise both parts of this work. 47 Lee Heritage. This piece is a relatively easy level III. FL: Howard J. (Lakeland. The outer two are written in 3/8 and contain some syncopation that may cause difficulty. The flute part ranges from d-7 to b-3. the use of thirty-second notes. Schweinfurt: Verlag Vogt and Fritz. Lutz-Werner. The texture includes some passages of hocket. and contains some fleeting technical runs and ornamentation. The flutist covers a range that extends to c-7 as well as flutter tonguing. 1997. The end of the second movement contains a harmonic or whistle tone-like marking for the flute. and meter changes. as well as accompanimental material. Canada: Doberman-Yippan. 2000. and flutter tonguing. Seligkeiten blisses: Five Inventions for Flute and Guitar. 79 . glissandi. 22. Two Poems for Flute and Guitar. Texturally. frequent syncopation in both. Buss Publications. while the guitar part utilizes glissandi and tremolos. there are several guitar solos. The flutist also has to play key clicks and the guitarist harmonics. The guitar part has both melodic and accompanimental material. Buss Publications. Challenging rhythms that are present in both parts of Five Inventions include syncopation. Divertissement für Flöte und Gitarre. 1996. 2000. and metrical changes. Both instruments have a solo movement. a mélange of textures. meter changes. and pizzicato. triple dotting. Lee. Challenges in both parts include a fast tempo in the second movement. Honolulu. FL: Howard J. Saint-Nicolas. The flute part additionally includes ornamentation. flutter tonguing. 1. Werner. HI: Galliard Press. The guitar part contains mostly accompanimental material and the player is at one point instructed to use the thumbnail. Interlude for Flute and Guitar. Bad Schwalbach: Edition Gravis. 1998. All Kinds of Pairs is a four-movement work that contains a mixture of textures. This work is comprised of three short dance-like movements. The guitar part contains melodic. Douglas.Heider. Walter Thomas. 3 Diferencias für Flöte und Gitarre. Heritage. Lakeland. Rhythmic difficulty in both parts includes meter changes. Two movements. Op. Two Poems for Flute and Guitar. Hein. Two Poems was written in 1992 and was inspired by two poems of Emily Dickinson. Hesse.47 The piece is homophonic in texture. 1980. and falling glissandi. Heritage. alternating scales with the flute part. The flute part contains some large leaps. Berlin: Verlag Neue Musik. All Kinds of Pairs. The work features occasions where guitar and flute play in different meters simultaneously. Lee. 1997). Heyn. double dotting and the use of thirty-second notes. and frequent syncopation. Rhythm is the main area of difficulty in this single-movement work.

: Papagena Press. 2001. flutter tonguing. The composer notes that he has included chord symbols so that the guitarist may improvise. N. solo cadenzas. Barcelona. Erfurt: Thüringer Volksverlag. doubling piccolo.papagenapress. Wolfgang.Hlouschek. The guitar is accompanimental but does share melodic motifs. meter changes. This work is primarily homophonic and contains five-movements or ‘sketches’. Duet per a flauta i guitarra. Hoche. syncopation. and melodic material.” available from http://www. sections of three-against-four. Duet is a work structured in a style similar to the succession of verses in a poem. 1991. Theodor. and guitar. The guitar part encompasses harmonics. Hodkinson. 1992.htm. 11] Four Salon Songs for Flute (Doubling Piccolo) and Guitar. 1992 Drawings is a cheerful work for flute. accessed 24 September 2010.48 The flute part contains large leaps. Helmstadt: H. 1992). N. and some thirtysecond note figures.1951. Spielmusik contains flutter tonguing in the flute part and harmonics in the guitar but it is a very accessible level III work. 49 80 . large leaps. 1992. and flutter tonguing. Homs. arabesques. as well as rasgueado and an introductory cadenza. Joaquim. Both parts additionally include syncopation and meter changes. Hofmann. and melodic filigree. It is otherwise very manageable. frequent syncopation. and meter changes comprise rhythmic difficulty in both parts. Difficulty in both parts includes frequently changing dynamics. tempo changes. Internet.49 The flute part unfolds the primary melodic material in impressive runs. Katherine Hoover. shifting meters. 48 Joaquim Homs. Eucentro belongs to the category of level III due to instances of flutter tonguing in the flute part. Drawings [Set No. Thirty-second notes. percussive techniques. Ecuentro für Flöte und Gitarre. and very specific and frequently changing dynamics. American flutist and composer Katherine Hoover was inspired to write this four-movement work by an Apache folktale called The Flute Player. The guitar has melodic and accompanimental material. (Barcelona. Canyon Echoes. New York. and Bartok pizzicato. The flute range is b-3 to c-7 and there are rapid passages. Hoche Musikverlag. Spain: Clivis Publications. hexachords. Hodkinson. some graphic pitch notation. 1. Wilhelmshaven: Florian Noetzel Ars Musica. The guitar part contains glissandi. “Program Notes. The flute part contains challenging passagework that utilizes a range of c-4 to c-7. Spielmusik für Flöte und Gitarre. Katherine. Frequently the flute is in 9/8 or 6/8 while the guitar is in 2/4 or 3/4. harmonics.Y. Duet per a flauta i guitarra.]: S. The guitar part comprises largely accompanimental material. Hubert. many rubato sections. [Fairport. Hoover.Y. accents that obscure the metric feel. Skizzen für Flöte und Gitarre. Spain: Clivis Publications. Sydney.com/progNotes. Additional difficulty in both parts includes.

Die Wiederkehr für Flöte und Gitarre. Both works contain some poetry.” The work is appropriate to level III due to a flute range extending from c-4 to d-7 and the occurrence of harmonics/whistle tones. aelatoric elements. available from http://www. Katherine. Houghton. Quebec: Les Productions D'Oz. Changes Op. Ibid. thirty-second notes. Rhythmic difficulty includes the use of thirty-second notes and 3/8 meter. Franz Hünten was a nineteenth-century German pianist and composer whose main output consisted of piano pieces. some of which is translated. 51 50 81 .” available from http://www. New York: Papagena Press. and many extended techniques in both parts.51 A Frederic contains nine movements in which the melody is traded back and forth between instruments and the lack of meter results in an effect of free improvisation. Hans. The guitar parts contain mostly chordal accompaniment. Humet. 1999. The flutist also plays grace notes. “Bio. Internet.oxfordmusiconline. Hütten. 2005.ramonhumet. The Honey’d Middle of the Night for Flute and Guitar. Germany: Edition 49.50 The flute predominates with the majority of the melodic material and three cadenza-like sections." In Grove Music Online. Drei Walzer für Flöte und Gitarre. as well as speedy scalar technique. The guitar line is sparse and non-accompanimental. accessed 25 September 2010. Arranged by Boris Björn Bagger. "Hünten. Complex meter changes. Franz. accessed 24 September 2010. and grace notes. and double dotting provide rhythmic challenge throughout the work. Madrid: Arte Tripharia. Karlsruhe. to be read by the performers. the meter changes may create difficulty. L’hora de mel de Mitjanit comprises one movement.52 The flute parts of these three waltzes contain turns and grace notes. Ramon Humet. 2003. 57 Duet for Clarinet and Guitar (With Alternative Scoring for Flute or Violin). Bellmann. 1999. Mark.com/subscriber/article/grove/music/13575.Hoover. Internet. The guitar part is primarily accompanimental but does contain some melodic figures. Caprice. If taken at the recommended tempo indication of quarter note equals 180. and a whistle tone.com/bioeng. 52 John Rutter and Michael Musgrave. Franz. Ramon Humet is Venezuelan composer with an interest in the shakuhachi. Another issue is that the flute part provided doubles as a violin part and therefore uses a range that extends to g#-3 which the flutist has to transpose up an octave. Landserg: Musikverlag M. 2002. This piece is a miniature based on a collage of visual art from the Cedar Rapids Museum of Art. trills. The most difficult aspect of this one-movement work is the frequent use of meter changes. Hünten.htm. The title here means “The Return. Ramon. Oxford Music Online. A frederic and l’hora de mel de mitjanit.

The guitar part contains demanding single-lined runs. natural harmonics. Paris: Alphonse Leduc. altered and added-note chords. and ties and grace notes that complicate the rhythmic landscape. Quarter note triplets and the use of thirty-second notes make the rhythmic aspect of the work demanding. 1981. triple-tonguing with specific syllables given. slides. Song for Marcus. The flute and guitar both share melodic responsibility in this rhythmically challenging singlemovement work. Double Concerto for Flute. ties. The guitar part is chordal. The flute part of this four-movement work contains frequent acrobatics." In Grove Music Online. Ketil. Almer. Song for Marcus. München: Edition Modern. and rasgueado.53 The flute part of his Paraboles includes grace notes. harmonics. grace notes. The flute part requires fluid technique. The guitar part includes rasgueado. Jelinek. flutter tonguing. in both parts. and glissandi. Music for Friends. (Bungaloo Music. simple arpeggios. The guitar provides chordal and rhythmic accompaniment in a rumba-style rasgueado. arpeggiation. subtle accelerandos. and triplet-eighth note runs. Rhythmic facets of this work include meter changes. and a cadenza. 1987. 54 Almer Imamovic. "Ibert. Technical and rhythmic stability are essential in both parts due to syncopation. 2006. thirtysecond notes. The guitar part is difficult involving a great deal of melody and counter-melody as well as chording. harmonics. 2 for Flute and Guitar. contains some chromaticism. pizzicato. many octave leaps. available from http://www. syncopation.54 The flute part contains an improvisational section and flutter tonguing. Hanns. Donald. Bungaloo Music. and the use of thirty-second notes.Hvoslef. Features include frequent accents. Guitar and String Orchestra. Paraboles: Deux pieces pour flûte et guitarre. Jenni. and numerous harmonics. Ibert’s music embraces a variety of genres and diversity of mood and is tonal although he makes regular use of chords of the 9th. Oxford Music Online. Ibert. This piece is cast in two-movements and was written by French composer Jacques Ibert. Additional difficulty includes demanding technical lines. who also composed the popular level II work. Internet. No. and syncopation in both parts. Jacques. and contrapuntal writing. accessed 25 September 2010. Oslo: Norsk Musikforlag.oxfordmusiconline. New York: Associated Music Publishers. Song for Marcus is a homophonic work written with the rhythm of the rumba. Alexandra Laederich. chromaticism. Entr'acte: pour flûte ou violon et guitare. 11th and 13th. quarter note triplets. 1. 1957. Imamovic. and pizzicato. 53 82 . thirty-second notes. Ollapotrida für Flöte und Gitarre. Jaques.com/subscriber/article/grove/music/13675. 1977. 2006).

1981. The guitar part consists of accompanimental material. Otto. in both parts. Pan pour flûte à bec ou flûte traversière. and flutter tonguing and both parts contain improvisation. Karlsruhe. Montreal: Les Éditions QuébecMusique. Moderately challenging meter changes are also featured. includes thirty-second notes and syncopation. distinct pulsations and polyrhythmic textures. Otto. grace notes. harmonics and glissandi. 83 55 . Oxford Music Online. Alla Sincerone. Oxford Music Online. Kangro. the repeated use of c-4. The guitar plays harmonics and. and large leaps. Ramio Kangro is an Estonian composer whose harmonies are often derived from tone clusters and whose music contains strong rhythmic energy. and the finale is largely a homophonic flute melody.55 Quatro intermezzi. Jung. Raimo. double dotting. the use of thirty-second notes. "Joachim. Internet. The flute part contains elaborate lines. Helge." In Grove Music Online. and flutter tonguing. The textures vary throughout the eight movements of this suite. available from http://www. at times. written in 1978. Raimo. and sections of two-against-three. 1982. op. tremolo." In Grove Music Online. The flute part uses glissandi. The flute part of this three-movement work was originally written for recorder and contains unmetered solo sections. is one such work. accessed 27 September 2010. and disparate intervals.Joachim. the part is written using two staves. The texture of the first two movements is pointillistic.oxfordmusiconline. Germany: Edition 49. meter changes. accessed 27 September 2010. available from http://www. 2003. The guitarist plays accompanimental material as well as some melodic figures in the introduction. Paris: Alphonse Leduc. unmetered solo sections. ou violon et guitare. Suite galante et généreuse pour flûte et guitar. unexpected contrasts. Rhythms are demanding and include the interpretation of graphic notation. Leipzig: Deutscher Verlag für Musik.56 Alla Sincerone qualifies for level III due to meter changes that explore both simple and compound meter. Daniel. Quatro intermezzi per flauto e chitarra. 1981.com/subscriber/article/grove/music/42334. movement three is more polyphonic. Kaiser. 56 Merike Vaitmaa.oxfordmusiconline. Additional rhythmic difficulty. Internet.com/subscriber/article/grove/music/14323. Edited by Detlef Tewes and Boris Björn Bagger. Rhythmic challenge in both parts includes syncopation. Robin Elliott. "Kangro. Otto Joachim is a Canadian composer of German birth who composed practically all of his later works using the twelve-tone technique. 49c für Flöte und Gitarre.

The guitar part has both melodic and accompanimental material. One Summerday. MN: Michael Karmon. syncopation. 2010. Both parts include frequent syncopation. and graphic notation. The performers are instructed to start the piece in any of the ten indicated places and to play the piece from one and a half to three times through before stopping at one of seventeen fermatas. Dirk-Michael. and the frequent use of triplets. Warngau: Accolade Musikverlag. Daniel. The guitar part is mostly accompanimental but does include a few solo sections. 1992. 8/4. Roominating for Flute and Guitar. Biography. Jinx On You for Flute and Guitar. Paul. and frequent mordents. and the guitar plays harmonics and retunes a string. Michel Kirschner is a French guitarist and composer who performs in a duo with flutist Remi Cordier. Kirsch. Michel. Jay Kauffman. Rhythms are challenging for both performers and include quarter note triplets. meter changes. Kauffman. frequent meter changes. trills. 27 September 2010. and double dotting. King of Prussia. Music for Flute and Guitar. Michael Kirshner. (St. Saint-Romuald Canada: Les Productions d'OZ.. then the first one to say "Jinx on You" wins. Michael. Roominating is a three-movement contemporary work. PA: Thedore Presser. quarter note triplets. thirty-second notes. The flute part here contains enhanced melodic gesture. The flute part ends with a d-7 and also includes fast double and triple tonguing. 7/8. The loser has to stay silent for five minutes.59 His three-movement work. accessed. tongue stops. double dotting. Internet. 5/8.” “The Attic. 1. 12/8. thirty-second and sixty-fourth notes.” and “The Bedroom” are based on the atmosphere of these different rooms in a house. Jay. Circle II. The movements “The Living Room. e-mail from the composer. 6/8. 2004. October 2. 2/4. Folles de Mai. The flute and guitar parts include quick technical runs. PA: Theodore Presser Co. Jinx on You is based on a spontaneous ‘game’ he played when he was a kid: “if two people say exactly the same thing at the same time. Folles de Mai is rhythmic and dancelike. St.Karmon. 57 Michael Karmon. The flute and guitar share melodic material. 9/8. According to the composer. 2004). Challenging rhythms and meter changes occur throughout and include syncopation. This is a unique work that is intended to be performed in a circle. available from http://michel-kirschner. 4/4. Extended techniques used include pitch bends and double tonguing in the flute and harmonics in the guitar. 59 58 84 .57 The flute part involves flutter tonguing and whistle tones. MN: Michael Karmon. and 10/8.”58 Kessner. This humorous work embraces swift tempos and frequent meter changes. Bryn Mawr.fr. and frequent showiness. Paul. 2002. thirty-second figures. double dotting. 2006. Kirschner. and tempo changes. The Stravinskian rhythm consists of mostly eighth note pulses used within the following meters: 11/8. 6/4. 2002. cadenza sections. Roominating for Flute and Guitar.

"Klebe." In Grove Music Online. Wein: Doblinger. Giselher Klebe was among the leading avant-garde composers of the Darmstadt and Donaueschingen schools. Rhythms are moderately challenging and include several instances of freely conceived repetitive notes.oxfordmusiconline.Klebe. tempo changes. The flutist here has to play quarter-tones and a part that reaches to c-4 while the guitar part uses harmonics. 44. Internet. frequent meter changes and the repeated use of thirty-second notes occur in both parts. The flute part contains the primary melodic material and the guitar part contains chordal and arpeggiated accompaniment. and tempo rubato. Koch. Erland von Koch is a Swedish composer who often used folk melody in his works and who found inspiration in the rhythmic and contrapuntal variations of peasant music.oxfordmusiconline. Erland von." In Grove Music Online. some of which are complex. Giselher. Oxford Music Online available from http://www. Flutter tonguing. The flute and guitar parts both play equally important roles and tackle many meter changes. Tokyo: Japan Federation of Composers. Stockholm. Concords employs a flute range that extends to b-3 and rasgueado in the guitar part. 1967. Canto e Danza per flauto (anche flauto alto) e chitarra ossia violino e pianoforte. 28 September 2010.60 His Recitativo. "Koch. 1986. 1990. This theme and variations composition is listed as level III due to meter changes. Manuscript. 1979. Erland von. Ernst. Cadenzas are additionally included in both parts. op. the flute part is enhanced by trills and grace notes. Difficult technical runs. asymmetrical rhythms. Kobayashi.61 Canto e Danza is a two-movement work calling for both c flute and alto flute. and ornamentation are required of the flute. available from http://www. Internet. Karl. 2008. Kölz. Aria e Duetto is a rhythmically advanced threemovement work. Dialogue pour flûte et guitare à dix cordes. Aria e Duetto per flauto e chitarra.com/subscriber/article/grove/music/15111. Giselher. Berlin/Wiesbaden: Bote and Bock. Triplets and frequent syncopation occur in both parts. accessed 27 September 2010. Additionally. It includes challenging technical passages for both flute and guitar. accessed. and pizzicato and harmonics are asked of the guitarist. 85 60 . Sweden: Edition Suecia.com/subscriber/article/grove/music/15227. double tonguing. Edited by Siegfried Behrend. Recitativo. Arata. Kohn. Oxford Music Online. Michael Herbert Rentzsch and Erik Levi. Concords for Flute and Guitar. and the guitar part contains harmonics. Kleine Variationen über “La Doulce Saison” für Flöte und Gitarre. 61 Rolf Haglund.

(King of Prussia. Internet accessed 9 November." In Grove Music Online. 1976. available from http://www.com/subscriber/article/grove/music/15340. the use of thirty-second notes. The piece contains many meter and tempo changes. Austrian Paul Kont’s writing is based on a tonal foundation and several principles of minimalism. flutter tonguing. Korinek. "Kraft. 86 62 . Hartmut Krones. 22. and double dotting pose rhythmic challenge in both parts. Thirty-second notes.62 His Suite en passant unfolds in three-movements.63 Frequent and unexpected meter changes cause difficulty in this rhythmically taxing four-movement work.Kont. Paul. Leo Kraft is an American composer who studied with Nadia Boulanger and Randall Thompson. 2004. Leo. and 5/8 meters are abundant in both parts. PA: Theodore Presser Co. Koncertna fantazia per flautu a gitaru. Partita 5 for Flute and Guitar.. and also utilizes c-4. 63 Bruce Saylor. 1975. 22. Song of Spring With Little Variations and Fantasies for Piccolo (or Flute) and Guitar Op. 2002). chordal. The flute part contains unusual figuration. and double tongued sections. Berlin: Verlag Neue Musik." In Grove Music Online. The guitar part often contains melodic material and uses harmonics and slides. syncopation. The guitar part is difficult and contains harmonics. Song of Spring with Little Variations and Fantasies for Piccolo (or Flute) and Guitar Op.oxfordmusiconline. Edition Margaux.oxfordmusiconline. The flutist negotiates ornamentation. accessed. and flutter tonguing in the flute part and Bartok pizzicato. Paris: M. 2010. Oxford Music Online. 28 September 2010. harmonics. Oxford Music Online. The guitarist’s role switches from accompanimental. and technical. Frequent meter changes. Leo. Krantz. and arpeggiated material. Song of Spring emphasizes the lyrical possibilities of the piccolo. flutter tonguing. Suite en passant pour flûte et guitare. 64 Allen Krantz. Paul. The flute part contains flutter tonguing and double tonguing. it can be adapted for flute and guitar. 1.. melodic material. Koshkin. available from http://www. Bratislava: Slovensky Hudobny Fond. Kraft.com/subscriber/article/grove/music/15461. Esching. PA: Theodore Presser Co. 12/16. using a nail to the bridge. 6/16. King of Prussia.. golpe.64 Although written for piccolo. Nikita. Miloslav. It includes meter changes and syncopation in both parts. "Kont. 8/8. Extended techniques used include harmonics. Allen. Internet. 2002. 1998. and glissandi in the guitar part. The guitar part is not strictly accompanimental and instead contains a mix of melodic. both parts are equally important and equally difficult rhythmically and technically. Sonata für Flöte und Gitarre. and 9/16. Edited by Konrad Gagossnig. New York: Seesaw Music Corp. This one-movement work displays a variety of textures and tempo changes. In this three-movement work. Two of the movements are for guitar alone and one begins with a difficult canon. double tonguing.

101.oxfordmusiconline. Václav. and tricky meter changes in both parts. Hubert. Vienna: Doblinger. accessed 29 September 2010." In Grove Music Online. Some additional extended techniques and ornaments that are used include timbral trills and upward slides in the flute part.oxfordmusiconline. Internet. Extended techniques appear in both parts and include flutter tonguing and harmonics in the flute part. 87 . Kropfreiter. Edited by Karl Scheit. as well as some melodic material and short solos. Konzertzyklus für Flöte und Gitarre (Water Colors Concert Cycle for Flute and Guitar). Kross. Václav Kučera’s compositional style was deeply influenced by folklore and Romanticism. double dotting. The flute part contains quick technical runs and melodic material. 1997. Suite für Querflöte oder Altblockflöte und Gitarre op. Also included are numerous meter changes. Czech composer.Internet. the flute part extends from b-3 to c-7 and utilizes key clicks. Kučera. Krouse. The flute part also contains flutter tonguing. 65 Hans-Hubert Schönzeler. Austrian composer.com/subscriber/article/grove/music/15574. The guitar part is elaborate and uses golpe. accessed 29 September 2010. Konzertzyklus. sforzandi. Heinz. The challenging guitar part includes chordal and melodic material and some arpeggio figures. evinced by frequent grace notes.65 His Tanz-Ballade consists of threemovement that contain syncopation. Augustinus Franz. Rhythmic challenge in both parts includes fast tempos. The work has a Celtic flavor. and quarter note triplets. Augustinus Franz. This is a vigorous six-movement work that can be played using the flute or recorder. 2005. Oxford Music Online. Da chara is one-movement divided into several short sections following one another without pause. "Kučera. Oxford Music Online. Vienna: Doblinger. 1980. shifting meters.Kratochwil. ornaments. Rhythms are difficult and include syncopation. Nagel: ENA-Musikverlag. available from http://www. Leipzig/Dresden: Edition Peters. and hemiola. and residual sound. Ian. Zwei Impromptus für Flöte und Gitarre. Franz Augustinus Kropfreiter’s compositions show Hindemithian counterpoint with polyphonic textures and polytonality.com/subscriber/article/grove/music/15613. and the use of a nail in the guitar part. double dotting. Václav. 1980. 1985. These two charming short impromptus contain frequent melodic colloquy. The texture is varied and both instruments are given soloistic material throughout." In Grove Music Online. The guitar plays frequent melodic material. et al. and graphic notation. available from http://www. "Kropfreiter. and harmonics and glissandi in the guitar part. Aquarelle. Dynamics include frequent sforzandi and forte-pianos in both parts. New York: Peer Music. 66 Jan Ledeč.66 Rhythms are advanced in his five-movement Aquarelle. Da chara (Two Friends) for Flute and Guitar. Tanz-Ballade für Flöte und Gitarre. syncopation. The guitar part is comprised of accompanimental chords and arpeggios. In addition.

In the outer movements meters change frequently and in the second movement syncopation is used often in both parts. and two-against-three between the guitar and flute parts. 1996. and slides. Internet. 1999. Quebec. trills. Brussels: CeBeDeM. New York: Oxford University Press.com/index. Leduc. Melodic material and complicated technical runs exist in both parts. Jacques. accessed 29 September 2010. 1981. dotted and triplet rhythms. some melodic content. Extended techniques embrace flutter tonguing and pitch bends in the flute part. grace notes. Libby Larsen. Langer.67 Lauber. the use of thirtyseconds.com/index. and harmonics in the guitar part. Divertissement pour flute et guitare.”68 Divertissement unfolds over three-movements. 41. Rhythm represents the most difficult aspect of this three-movement piece.” available from http://libbylarsen.thecanadianencyclopedia. Wein: Doblinger. Michael. Libby.cfm?PgNm=TCE&Params=U1ARTU0001974. and frequent off-beat accents comprise the rhythmic difficulty of the work. Ann. Dizzy Gillespie. Internet. and Kenny Clark and pays homage to the interval of the third and its place in the blues. 2000. arpeggios. Blue Third Pieces for Flute (or B-flat Clarinet) and Guitar. According to the composer. Canada: Doberman. The flute part uses flutter tonguing. accessed 29 September 2010. and grace notes and the guitar plays harmonics. the piece contains references to Ray Charles. and a brief cadenza/solo section in the second movement. Blue Third Pieces is made up of two jazz and blues influenced movements. The challenging rhythms in this three-movement work include meter changes. Paris: Gérard Billaudot.Lancen. Program Notes. Meter changes.” available from http://www. Canadian composer Ann Lauber’s music is characterized by “a desire for expressive clarity rooted in traditional materials and methods of Western classical music. Serge. Madrigalismes en duo pour flûte et guitare op. syncopation. Olga's Song Dance für Altflöte (Flöte) und Gitarre. 68 The Canadian Encyclopedia. Frequent syncopation and sections of sixteenths against eighth note triplets must be mastered. Duetto pour flûte et guitare. Ann. The flute and guitar are equal partners and rhythmically often complement each other. Rhythmic aspects include frequent meter changes and syncopation. Both the flute and guitar share the melody. Flutter tonguing is included in the flute part. This one-movement work contains two parts: a lyrical adagio and a dance-like allegro. 88 67 .php?contentID=242&profileID=1241&startRange. “Blue Third Pieces. The guitar part is moderately difficult and contains chords. 1987. Larsen. “Lauber. The flute part requires low register strength due to many quick c-4 to d#-4 grace notes and ornamentation. Alto flute is called for and plays glissandi and numerous key clicks. The guitar part includes harmonics. Edited by Karl Scheit.

suite para flauta y guitarra. Lezcano. This three-movement work challenges both performers. The flute part contains flutter tonguing and glissandi. Dances in the Madhouse. 2006. (Québec: Les Éditions Doberman-Yppan. Québec: Les Éditions Doberman-Yppan. Siluetas. Madrid: Monge y Boceta Asociados Musicales. Jose Manuel. “David Leisner. A four-movement piece based on a lithograph depicting four groups of asylum inmates. Bryn Mawr. and the flute part was originally conceived for violin and is based upon large leaps. Acrobats for Flute and Guitar. 71 Jose Lezcano. Jose Manuel Lezcano is a Cuban guitarist and composer whose compositional style is both eclectic and expressive. The guitarist employs percussive techniques. The third movement is to be played on piccolo in order to emulate the sound of violin harmonics. “Biography.html. and trills. Acrobats for Flute and Guitar. David Leisner is an American guitarist and composer who is celebrated for expanding the guitar repertoire. There are frequent meter changes. Charlotte. accessed 29 September 2010. and meter changes. an extreme range that extends up to d#-7 in the flute part. Leisner. For the Relief of Unbearable Urges. Graphic notation and the absence of a meter are also incorporated.71 The flute part of his three-movement Sonatina Tropical demands superior technique while the guitar part plays arpeggios. block chords. PA: Theodore Presser.com/biography. syncopation. Dances in the Madhouse for Violin (or Flute/Piccolo) and Guitar. Biography.com/biography. 89 69 . 1994. grace notes. changing tempos.69 Acrobats is a three-movement work that is based on the short story. Jesús. accessed 29 September 2010.70 It requires technical skill from both performers. This is a copy of a handwritten score. polyrhythms. and erratic accent patterns that bring about difficulty. The texture is varied and includes sections where the players have unison rhythms and also sections where the players play solo sections.davidleisner.joselezcano. NC: Pan Publications. 1999. David. Leisner. The guitar part is not accompanimental and contains glissandi. 70 David Leisner. Sonatina Tropical (1998) for Flute and Guitar. a cadenza. 1. virtuosity. contains many meter changes as well as triplet and syncopated rhythms that are tricky to execute. 1987.Legido.” available from http://www. and some melodic material.html. Internet. 2006). David. “The Tumblers” from Nathan Englander’s short story collection.” available from http://www. Internet. The guitar part contains both accompanimental and soloistic material and harmonics.

and quarter note triplets. 72 Lowell Liebermann. Rhythmic difficulty in both parts includes syncopation.com/works/opus25. Internet. single-movement piece. The flute part contains frequent ornamentation and some cadenza sections. The guitar plays accompanimental material and a short cadenza.73 The flute part demands showy technique and embellishment within a range that extends from c-4 to b-6. meter changes. 74 Herbert Lindholm.74 It is written in one-movement with several tempo fluctuations and textural variety.Liebermann. available from http://www. According to the composer. 75 Ibid.. The guitar part has accompanimental arpeggiated writing as well as melodic material. Byzantion A. the epic drama is underlined by subheadings "Eastern Bells. and sections of polymeter. Warning Bells and Funeral Bells". Rhythmic difficulty in both parts includes sixty-fourth note figures. Loeb. NY: Harold Branch Publishing. syncopation. 1989.lowellliebermann. Internet. The flute part requires flutter tonguing and technical gymnastics. Lowell Liebermann is an American composer whose music is known for its technical difficulty and audience appeal. “Author’s Comments”. as well as chordal writing and harmonics. Concertpiece for Flute and Guitar. Sonata for Flute and Guitar. 1453 per flauto e chitarra. Helsinki: Suomalaisen Musiikin Tiedotuskeskus. Lindholm. Meditation for Flute and Guitar.com/biography/index. David. accessed 29 September 2010. thirty-seconds. Chaconne for Flute and Guitar.. the source of inspiration for this work is Mika Waltari’s novel Johannes Angelos that describes the conquest of Constantinople (Istanbul) by Turks in Easter 1453. Lowell. According to the composer. Helsinki: Suomalaisen Musiikin Tiedotuskeskus. PA: Theodore Presser Co.html. ties. This edition includes a handwritten score and a separate guitar part that is printed. Rhythmic difficulty in both parts includes double dotting.html. Herbert. Lindholm. David. “Biography. 1980. The guitar part contains frequent harmonics that reach e-7. syncopation.”75 This work is a multi-section. meter changes. Bryn Mawr.fi/Herbert/flute.” available from http://www. Loeb. “Works. 1989. and 3/2 alternating with 3/4 meter. 73 Lowell Liebermann.html.lowellliebermann. Herbert.kuopionkonservatorio. triplets.D. Plainview. The flute part for Chaconne contains a range that spans from b-3 to c-7 and includes large intervals. Internet. 90 . In the work. accessed 29 September 2010. “a melodic and folk-like duet where the flute and guitar parties’ thematical dialogue is fluent but done as if with different languages not noticing one another. NY: Harold Branch Publishing Inc. 1970’s Meditation is a lyrical one-movement work of textural variety. The guitar part contains unfolding melodic figures. Concertpiece is.72 His Sonata for Flute and Guitar is a two-movement work dedicated to and premiered by Paula Robison and Eliot Fisk. 1993. The guitar part includes harmonics and some solo episodes along with accompanimental material.” available from http://www. Babylon. accessed 29 September 2010.

91 . Bratislava: Slovenský Hudobný Fond. due to the necessary rhythmic coordination between the flute and guitar. Malipiero. 2003. The flute part makes moderately challenging technical demands. Deirdre. and flutter tonguing for the flute. Dierdre Lynds wrote this fresh. however tempo indications are given with quarter note pulses. many accents. Riccardo. Flute part edited by Jill Felber.76 Both players encounter fast tempos.Lynds. double tonguing. Liebesspiel explores extended techniques in both the flute and guitar parts and lists instructions in Italian only. and flutter tonguing in the flute part and glissandi in the guitar part. John Doe’s running. much syncopation. Meter changes from simple to compound are included as well as frequent ties and syncopation. The guitarist performs harmonics. 1990. Rhythmic challenge in both parts includes meter changes between compound and simple meters. Marchelie. Germany: Edition 49. Saint-Romuald. Rhythms are moderately difficult in both parts and use all combinations of notational values. The flute part is melodic and contains large leaps. 1983. MI: Little Piper Press. Gémeaux. The guitarist plays melodic material. Maria. Rhythmic difficulty in both parts includes double dotting. 76 Deirdre Lynds. The guitar plays both melodic and accompanimental material. The guitar part explores the timbre of harmonics. Erik. The guitar part contains mainly arpeggios and melodic fragments. rhythmically adventurous four-movement work for the Felber/Century duo. Canzona per flauto traverso e chitarra. 5 Noveletten für Flöte und Gitarre. Paris: Henry Lemoine. Marchelie. The piece is not metered and graphic notation exists in both parts. John Doe’s Running for Flute and Guitar. 2005. Liebesspiel per flauto et chitarra. Rhythm represents the most difficult aspect of 5 Noveletten. Erik. Canada: Les Productions D’OZ 2000. Detroit: Little Piper Press. 2. This is a very difficult level III work. Gémeaux contains key clicks. 1990). The flute part contains trills. Dynamics change frequently. 1979. Sonatine pour flûte et guitare. and flutter tonguing. 2001. and thirty-second notes. thirty-second notes. Malovec. (Detroit. and some melodic material. Sonatine is in three-movements and contains frequent meter and tempo changes. and syncopation. glissandi. the use of meter changes. The guitar part is largely chordal punctuated by a fair amount of melodic material. Canzona includes glissandi and percussive techniques in the guitar part. Karlsruhe. Milan: Edizioni Suvini Zerboni. Mank. meter changes. Josef.

Marchelie, Erik. Tango pour Flûte traversière ou flûte à bec alto (ou violon) et guitare. Paris: Henry Lemoine, 2002. The flute player employs trills, fast double tonguing, and some extended techniques in this short single-movement work. The guitar part is mainly chordal and the arpeggiated accompaniment is flavored with harmonics, rasgueado, and tamboura. Marie, Dominique. Trios breloques de bric et de broc. Saint-Romuald, Canada, Les Productions D’OZ 2000, 2000. This piece qualifies for level III due to the changes between compound and simple meter that appear in the third movement. The flute part contains singing and playing. The guitarist’s role is both melodic and accompanimental and encompasses some short solo sections, pizzicato, harmonics, tamboura, and golpe. Both parts negotiate meter changes and unexpected ties. Marsh, Steve. One for Marie & Un tiempo cochino: 2 Pieces for Flute and Guitar Berlin: Edition Margaux, 1994. These two short works belong to level III due to the presence of glissandi used in the flute part, rasgueado used in the guitar, and the use frequent meter changes between and 7/8, 8/8, 3/8, 4/8, 4/4. The guitar part contains a lengthy solo section, and both melodic and accompanimental lines throughout. According to the composer, One for Marie was composed as a “Love Song Without Words” for his friend Marie, who he loved and who unfortunately died of cancer.77 Un tiempo cochino roughly translates to “The time of a pig,” and is titled so because the recording engineer of the studio in which the composer and his flutist friend were recording the work said that it seemed as though they were having a “swine of a time.”78 Martin, Robert. Japanese Gardens for Alto Flute and Guitar. King of Prussia, PA: Merion Music, Inc., 2003. Two-movements and an interlude make up the work, Japanese Gardens. The alto flute part contains grace notes and some flutter tonguing. The guitar part contains melodic, arpeggiated, and chordal material. Rhythm in this piece is complex featuring counter-rhythms and guitar ostinati. There is extensive use of grace notes in the flute part. Marttinen, Tauno. Intermezzo, Op. 149. Helsinki: Suomalaisen Musiikin Tiedotuskeskus, 1992. Intermezzo features numerous tempo and meter changes and fast runs for both instruments. The texture is mixed, giving the guitar part both accompanimental and melodic roles. The score is a copy of a handwritten score and is not easy to read. Mas, Jean-Luc. Fantasia alegre pour flûte & guitare. Paris: Gérard Billaudot. This is a short fantasia with a high proportion of graphic notation and some extended techniques. Flutter tonguing of the flutist, and percussive techniques and harmonics of the guitarist are required. Rhythm is conceived freely and without a meter. The guitar part is both melodic and accompanimental. This is recommended for any ensemble seeking to program an accessible contemporary work.
77 78

Steve Marsh, email from the composer, October 1, 2010. Ibid. 92

Mas, Jean-Luc. Nocturne et un bis quelconque….comme une tarentelle pour flûte et guitare. Paris: Gérard Billaudot, 1986. In this pair of works, the flute part contains ornamentation, fleet technical work, and flutter tonguing. The guitar parts contain some short solos as well as melodic material. Rhythmic difficulty in both parts includes syncopation, triplets, thirty-second notes, and meter changes. Maxson, Reed. Four Pieces for Flute and Guitar. Davis, CA: Airfield Music, 1895. These four pieces are short and are rated as easier level III repertoire. Rhythmic difficulty in both parts includes frequent meter changes, ties, triplets, and syncopation. The flute part includes specific vibrato instructions. The guitar part contains harmonics and ponticello in addition to both melodic and accompanimental material. Medek, Tilo. Ohne Zwiespalt für Flöte und Gitarre (1995/96). Munich: G. Ricordi & Co., 1998. "Ohne Zwiespalt" means “Without Conflict”. The seven movements of the work depict amicable instrumental colloquy and that both parts have equal weight.79 The flutist is required to navigate many runs, lots of accidentals, large leaps, grace notes, trills, mordents, and flutter tonguing. The guitarist is required to create a light texture with generally single-note melodic material, arpeggios, and two-or three-note chords. The piece includes counter rhythms between the guitar and flute part and some syncopation in both parts. Meijering, Chiel. De pelikipsalverduin likt de weldoenschamper van de perigaanklammateur. Amsterdam: Donemus, 1984. Dutch composer Chiel Meijering’s music contains the virtuoso use of instruments, energetic fast movements and motoric rhythms.80 The flute part of this one-movement work embraces challenging technical runs, frequent double and triple tonguing, and ornamentation. The guitar part contains melodic and accompanimental material as well as harmonics and Bartok pizzicato. Difficult rhythms include frequent meter changes and triplet figures. The dynamic range for this piece is extreme. Meranger, Paul. Tableaux de voyage, suite pour guitare et flûte. 1. Enpartance, 2. Au-dessus des nuages, 3. Un chant, un soir, 4. La mer, 5. Montagnes. Arranged by Mourat-Lamber Duo. Paris: Editions M. Combre, 1975-1978. This is a suite of five works in which textures vary throughout. The flute part contains challenging technical runs, ornamentation, and one instance of flutter tonguing. The guitarist plays accompanimental, melodic and solo material, along with ornamentation, harmonics, rasguesdo, percussive techniques, and glissandi. Instructions for techniques are supplied only in French.

Tilo Medek, Ohne Zwiespalt für Flöte und Gitarre (1995/96), (Munich: G. Ricordi & Co., 1998), 1. 80 Michael H.S. van Eekeren. "Meijering, Chiel." In Grove Music Online. Oxford Music Online, available from http://www.oxfordmusiconline.com/subscriber/article/grove/music/47274; accessed 30 September 2010. 93

79

Migot, Georges. Sonate pour flûte et guitare. Paris: Éditions Musicales Transatlantiques, 1967. This three-movement work contains some syncopation, duple eighths in compound meter, quarter note triplets, and harmonics in both parts. The guitar part contains frequent melodic material. The flute part contains a marking that looks like flutter tonguing, however no specific instructions are supplied. Miletic, Miroslav. Centone per flauto e chitarra. Helvetia: Pizzicato Verlag Helvetia, 2000. Miroslav Miletic is a Croatian composer whose music reflects his respect and devotion for Croation national folklore.81 Rhythmic difficulty in both parts of this three-movement work includes triplets, syncopation, quarter note triplets and meter changes. The flute part contains ornamental passagework and flutter tonguing. The guitar writing features harmonics and glissandi. Moncho, Vicente. Musica para flauta y guitarra. [S.I.]: Vicente Moncho, 1996. Argentine composer, Vicente Moncho’s compositions are created in a modal type language, use compositional patterns used in Western Europe, and show the influence of the Argentine tango.82 His one-movement modern work, Musica para flauta y guitarra has cadenzas in both instruments. The flute part exhibits challenging technical runs, flutter tonguing, and ornamentation. The guitar part is also challenging and contains virtuoso runs that imitate the tango. Non-metered sections occur, as well as instances of graphic notation and unpredictable dynamic shifts. This edition is a facsimile. Morales-Caso, Eduardo. Introducción y toccata. Madrid: Arte Tripharia, 2002. This one-movement work is based upon frequent complex meter changes, harmonics, and quasi-cadenza sections. The flute part contains challenging technical runs that extend to b-6. The guitar part contains rasgueado. Moyse, Louis. Cantos de las sierras for Flute and Guitar. New York: G. Schirmer, 1972. Flutist and composer Louis Moyse was the son of the renowned flutist Marcel Moyse. His Cantos de las sierras comprise three movements. The flute part calls for a moderate amount of fast technical runs (especially in the third movement), some chromatics, accidentals, and grace notes. The guitar texture includes mainly arpeggios, with some block chords, and melody with chordal accompaniment.

81

Miroslav Miletić, “Biography”, available from http://en.academic.ru/dic.nsf/enwiki/8720862; Internet; accessed 30 September 2010. 82 Vicente Moncho, “Biography,” available from http://www.stormworks-europe.com/site/index1g.html; Internet; accessed 30 September 2010. 94

1984. and powerfully expressive. Sonate KV 331 für Flöte (Violine) und Gitarre. Flute part edited by Jean Claude Gérard. The flute part additionally includes octave leaps. 2000. Arranged by Peter-Lukas Graf and Konrad Ragossnig. Flute technique is challenging at times and ornamentation is required. Kase per flauto o mandolino e chitarra. atonal. Alexander Müllenbach’s music is described as being tonal. was published originally by Johann Traeg as No. mordents. Oxford Music Online. Guitar fingerings are supplied as well as articulations and ornamentation in the flute part. Sonate a-dur (nach KV331/332) für Flöte und Gitarre. Edited by Nikolaus Delius. Bühl-Baden: Antes Edition. Frankfurt: Zimmermann. accessed 30 September 2010. Alexander.com/subscriber/article/grove/music/45622. 1978. Katsumi. Wolfgang Amadeus. Mozart. The guitar part contains harmonics. Sonata a-dur (nach KV331/332) für Flöte und Gitarre. 1978). This is a three-movement work with numerous technical runs in the flute part but they are tonal and accidentals appear only sparingly. Müllenbach. The work is scored so that the melody line can be played by either the flute or mandolin. dodecaphonic. serial. 3 under the collection of various pieces with and without accompaniment arranged for guitar by Andreas Traeg. Wolfgang Amadeus Mozart. as well as syncopation in both parts. available from http://www. Alexander. There is a section in which natural harmonics are required in the guitar part and there is one occasion for flute flutter tonguing. 2. and grace notes.oxfordmusiconline. Ensemble is apt to be the most challenging element. consisting mainly of simple to moderately difficult arpeggios. Rhythmic highlights include some tricky sixteenth-note rhythms in the first variation. trills. Arranged by Boris Björn Bagger. 84 Loll Weber. Internet. 2005. The guitar part is mostly accompanimental and fingerings are included. post-serial. Vienna: Universal Edition. Wolfgang Amadeus. Rhythm and style are the primary challenges in the work. and driving pace. syncopation. This four-movement sonata. This piece fits the criteria for level III due to the flute cadenza. Luxembourg composer.Mozart." In Grove Music Online.84 Epigramme is a rhythmically challenging three-movement work with a complex metrical profile. 95 83 . 1996. Mozart. Sonate A-Dur KV 331. The guitar part is accompanimental. Epigramme für Flöte und Gitarre. The flute part contains flutter tonguing and demands several large leaps that drop to the b-3 to d-4 range and requires some quick technical runs in that same register. "Müllenbach. München: Ludwig Doblinger. Padova (Italia): Armelin Musica. and fifth variations. Nagaoka. This is an alternative transcription of Piano Sonata KV 331. Wolfgang Amadeus. The flute also plays a short cadenza in the first movement. with some two-and three-note block chords. some thirty-second note rhythms in the second. which is a transcription of Mozart’s Piano Sonata KV 331.83 This sonata opens with a Theme and Variations movement. (Vienna: Universal Edition. This is another edition of Mozart’s Sonata KV 331. Thirty-seconds and sixty-fourth note rhythms are used. fourth.

Enfield: Modus Music. and pure melodic lines in his compositions. and harmonics.eu/. waltz. This edition contains a handwritten score and a typeset flute part. 81.86 Rhythmic features in his one-movement work. The guitar part contains chordal material. percussive techniques. and polyphonic in this onemovement work that employs both flute and alto flute.. This is a five-movement set that includes a ragtime. Dynamics change frequently and are extreme. A mix of textures. Harmonics and tamboura are also incorporated into the guitar part. Danse élégiaque. “Biography. Zanibon. Tokyo: Zen-On Music Ltd. monophonic. Graphic notation occurs in Passacaglia. Novak. Choreae vernales. fast double tonguing. and a whistle tone. Poul Rovsing Olsen is a Danish composer whose style is influenced by twelve-tone technique and often includes rhythmic contrasts between free movement and metrically long and complex figures. The texture is varied between homophonic.oxfordmusiconline. The third movement is a guitar solo. available from http://www. as well as short cadenzas in both parts and many hocket-like sections. Oxford Music Online. As an ensemble both parts are of equal importance and are equally challenging. Olsen. melodic material. Ottavio.com/subscriber/article/grove/music/20332. humor and wit. Extended techniques are required in both parts with little instruction. quintuplet rhythms. accessed 30 September 2010.jannovak. flutter tonguing. 86 William H. difficult technical runs. Guitar part fingered by Hugh Campbell. 2003. Schweinfurt: Verlag Vogt and Fritz. Kleine Suite. Jan. and elegy. Danse élégiaque for Flute and Guitar op. Internet. Tokuhide. "Olsen. Padova: G. and ornamentation are additionally required in both the flute and guitar parts of this one-movement work. and the use of a pick." In Grove Music Online. and arpeggios that are simple-to-moderate in difficulty and frequently form an ostinato pattern. Ostarek. Hans. contains some non-metered cadenza sections. finger dampening. clear structures. 2000. many unpredictable accidentals. and some syncopation. The flute part also contains large leaps as well as trills and grace notes. Poul Rovsing. and glissandi in the flute part. Reynolds and Jens Brincker. runs marked accelerando and velocissimo. sections of two-against-three. Passacaglia for Flute and Guitar. accessed 30 September 2010. Jan Novak is a Czech composer who uses free tonality.” available from http://www.Negro.85 The flute part of his three-movement work. Music for Flute and Guitar-Melos II. grace notes. The flute part contains elaborate figuration. Niimi. These techniques include flutter tonguing. polka. and harmonics in the guitar part. Choreae vernales per flauto e chitarra. The flute part is legible but the score is very difficult to read. Copenhagen: Wilhelm Hansen. quarter-tones. Jan Novak. 1995. 1980. Poul Rovsing. Difficulty may occur in synchronizing the flute and guitar rhythms. include triplet rhythms. Meter changes and syncopation pose rhythmic difficulty in both parts. 85 96 . minuet. whistle tones. Internet. 1982.

97 87 . 1989. 89 Melinda Berlász.87 Paraskevas. refers to a part of the former Greek constitution used by the dictatorship between 1967 and 1974 to abolish democracy in Greece.net/Night_Wanderings.com/catalogue_chamber. Fantasy is moderately difficult and contains flutter tonguing for the flute and glissandi and harmonics in the guitar part. and Orchestra. Fantasy in Three Parts for Flute and Guitar. accessed 30 September. Internet. accessed 30 September.clearnote. Guitar. available from http://www. Certain rhythms in the work come from a fearsome and agitated speech that the dictator delivered to academicians in 1973 following a student movement against the tyranny. and glissandi in the flute part. The piece contains meter changes. Constitution Article 91. Jerry Owen. Stephen. and harmonics.89 Rhythmic difficulty in his three-movement Duo includes the presence of syncopation. “The title of the work. "Patachich. This is a virtuosic one-movement concerto. Ancona. Iván. and ornamentation. thirtysecond notes. 1976. Intimate Dances. Iván Patachich was a Hungarian composer who pioneered electronic music in Hungary. harmonics and glissandi in the guitar part.html. and thirty-second note figures." In Grove Music Online. triple tonguing. and percussive techniques.com/subscriber/article/grove/music/21064. The guitar part is difficult and includes ponticello. Jerry.jerryowen. The flute part contains frequent high register figures. Apostolos. Intimate Dances is a rhythmically complex four-movement piece. Paulus. slides. and frequent meter changes including 8/8 meter divided as 3+2+3. An interesting feature of this piece is the addition of a snare drum to the cadenza sections. 2006. The second movement includes frequent sforzandi and metrical ambiguity. Constitution Article 91. 1983. PA: European American Music. Duo per violino e chitarra (o flauto e chitarra).html. “Catalogue.oxfordmusiconline. Iván. Double Concerto for Flute. Valley Forge. accessed 1 October 2010. Oxford Music Online. syncopation. complex meters and extended techniques that include quarter-tones. 2010. flutter tonguing. Internet.Owen. The guitar part is accompanimental and uses tamboura. San Antonio: Southern Music Co. According to program notes.” available from http://www. 2010. Italia: Bèrben. Both parts are technically demanding and utilize ornamentation.. 88 CD Liner notes to Night Wanderings. The flute part contains recurrent double tonguing and grace notes. Internet. Budapest: Editio Musica. available from http://www. The guitar part is a mixture of melodic and accompanimental material.”88 Patachich. The work was written for the Jan Boland and John Dowdall duo in 1980.

The guitar part contains a mixture of chordal accompaniment and melodic figurations and has a few solos throughout. Ancona. expanded instrumentation. With its virtuosic flute writing. Germany: Edition 49. Frequent meter changes appear towards the end with much syncopation and many thirty-second note patterns. thirtysecond notes. Stephen Funk. d-4. glissandi. Oxford Music Online. 98 90 . The pieces contain frequent syncopation and unpredictable odd accents. represents today’s tango and the tango of the future.Pearson. are very unusual and creative. and tango rhythms. c#-4. 91 Astor Piazzolla. Sonatine. available from http://www. Historie du tango is one of the most popular works in the flute and guitar repertoire. Historie du tango pour flûte et guitare. 1986). Internet. Astor. The flute part requires repetition of b-3.com/subscriber/article/grove/music/45192. and accompanimental and melodic roles. Its four movements each represent a different style of tango. represents audiences rushing to night clubs to listen to the new tango of the 1960’s. 1995. 9 für Alto Flöte und Gitarre. accessed 1 October 2010. Astor. 2002. Op. ornamentation. and meter changes from 4/4 to 6/8. harmonics. folk melodies.91 The flute part of the work contains melodic material. The poem “Mountain Morning” is to be recited at the beginning of the performance and there are optional lighting suggestions. elements of jazz. The first Bordello 1900. Historie du tango pour flûte et guitare. Directions for creating a mountain wind sound. Rhythmic difficulty in both parts includes the use of thirty-second note rhythms. at times. Cliff Eisen. challenging technical runs. The guitar part includes chordal textures and extensive harmonics. air sounds. Karlsruhe. 1960. 1986. and meter changes. (Paris: Editions HenryLemoine. The guitar part is unusual in that it includes frequent solo and melodic passages. Continental Café represents a tango that people listened to instead of danced. dissonance. Mountain Morning for Guitar and Flute. Arranged by Reiko Clement. c-4. Frequent accents occur with abundant syncopation. San Francisco." In Grove Music Online. Paris: Editions HenryLemoine.oxfordmusiconline. "Piazzolla. 2008. frequent syncopation. CA: Guitar Solo Publications. Astor. Modern Day Concert. extreme chromaticism. Italia: Bèrben. Alo. is a lively tango that originated in Buenos Aires in 1882 and paints a picture of prostitutes as they teased the people who came to see them. and flutter tonguing. which are included in the introduction. pitch bends and wind sounds. Cinco piezas per flauto e chitarra. Piazzolla.90 This is an arrangement of a solo guitar work of the same name. Astor Piazzolla was an Argentine composer whose distinctive brand of tango is called ‘nuevo tango’ and includes fugue. Põldmäe. 20. This three-movement work presents difficult rhythm and technical flourishes in both parts. The guitar part contains percussive techniques. and e-4. Piazzolla. and. Night Club.

Arabeschi Capricciosi. Jaan.html. Somerville. Qualliotine. Op. Internet. and ponticello. This is a one-movement concerto. 1 Without Name) für Flöte und Gitarre.93 His Stück Nr. Máximo Diego Pujol is an Argentine guitarist and composer whose works use tango as a basic style and are strongly influenced by Astor Piazzolla. There are places without any meter and others where frequent meter changes are found. both parts include syncopation and several sections of twoagainst-three. Jaan. The guitar part involves glissandi. golpe. Internet. 93 Urve Lippus. Difficulty in the guitar part includes some dense rhythmic chords. Edited by Boris Björn Bagger. accessed 1 October 2010. Rääts. and awkward barring and voicing. accessed 1 October 2010. The guitarist is an equal partner with the flutist here. Rääts.92 Suite Buenos Aires is cast in four movements. "Rääts.oxfordmusiconline. Karlsruhe. Karlsruhe. The flute part here contains quick technical runs. Pütz. 2001. Máximo Diego Pujol. Jaan Rääts is an Estonian composer whose style abandons traditional musical language and embraces a neo-classical style characterized by active motor rhythms. Köln: Orfeo 21 Pycrus Edition. MA:Nepenthe Music. The flute writing in Lake of Memory features technical hurdles and large leaps. Suite Buenos Aires pour flûte and guitar. Armand. and five-against-three. Gitarre und Orchester. Paris: Editions Henry Lemoine.com/en/etAussi/pujol. The flute part contains some difficult low flutter tongued notes and glissandi. 1990. Jaan. Glissandi are included in both flute and guitar and percussive techniques are included in the guitar part. Numerous tempo changes and complex meter changes are used. available from http://www. 1 ohne Titel includes one-movement that includes an assortment of textures with homophonic being most frequently used. 99 92 . 1995. “Biography” available from http://www. The piece relies on frequent syncopation. Máximo Diego. 1993. grace notes. Germany: Edition 49. Eduard. 2001.com/subscriber/article/grove/music/22760. The flute part includes virtuosic episodes and double tonguing. 117. glissandi. meter changes. Konzert für Flöte. 1 ohne Titel (Piece Nr. Stück Nr. and off-beat rhythms. The guitar part includes abundant melodic material and harmonics. The guitar part is involved and includes some harmonics and percussive techniques. Lake of Memory for Flute and Guitar.henrylemoine. Bartok pizzicato. Rhythm provides the biggest challenge in this whimsical opus." In Grove Music Online. Germany: Edition 49. and arpeggiated material. three-against-four. This is a relatively easy level III piece.Pujol. Oxford Music Online. and a range that extends from c-4 to c-7. Rhythmically.

accompanimental. thirty-second notes. quick technical runs. double dotting. Einojuhani. North San Juan. the flute part requires flutter tonguing and the guitarist plays harmonics and slides. 16. (Helsinki: Finnish Music Information Centre (Fimic). accessed 1 October 2010. and double dotting. Amsterdam: Donemus. Instructions for the extended techniques are in Italian only. but the structure is strictly consistent. Frequent chromaticisim. Finnish Works for Guitar. 21. Other made up words have been additionally used for titles. and technical material. Milano: Edizioni Suuvini Zerboni.”94 The work calls for frequent compound and simple meter changes and abundant thirty-second note rhythms in both parts. 95 Terry Riley. Finnish composer. Additionally. Riley. 1987. ties. thirty-seconds notes. Renosto. Extreme dynamics. The title of the series is a made-up word signifying A to Z.Rautavaara. “Terry Riley’s Original Scores. Quarter note triplets. 100 . Regt. Musica per flauto e chitarra. 1996. As in the other Rautavaara works for the guitar. that. and ornamentation appear in both parts of this twomovement work. Cantos Desiertos: The book of Abbeyozzud. Both performers negotiate frequent meter changes. This five-movement work is part of a larger work called.htm. The flute part of this three-movement work utilizes a range that extends to c-4. THE BOOK OF ABBEYOZZUD. the texture is notably idiomatic but it calls for extremely precise articulation.95 The work uses complex rhythms that include meter changes. Einojuhani Rautavaara’s Sonata has a “classical quality that ranges from dancing playfulness to archaic modality and mystic moods. and thirty-second notes. Paolo. Extended techniques used include harmonics in the flute part and tremolo and slides in the guitar part.” available from http://terryriley. alto flute. 2005). op. The flute part switches between c flute. Hendrik de. This edition is a copy of a handwritten score that is difficult to read. at its completion. CA: T. 1982. Duetti per flauto e chitarra-After 22. Helsinki: Fazer Musiikki. and piccolo. Terry. and demanding technical runs are present in both parts. 94 Ism Eskellnen. syncopation. The guitar part additionally uses harmonics.net/sheetmusic. 1972. and double dotting cause rhythmic challenge here. The guitar part includes melodic. Riley. Escape From Freedom. Sonata per flauto e chitarra. will have a total of 26 pieces for guitar and chamber group with guitar that will bear a distinct Spanish flavor.

Il lamento di Tristano for Flute and Guitar. S. and ornaments. 1971. the piece closes with a driving climax.riveramusic. slowly built by the flute's chromatic gestures against the pizzicato guitar. some cadenza sections. yet seductive motif. 2007. in English. Carlos Rafael Riveria. attractive woman. “Scores. accessed 1 October 2010. The landscape of this piece features multiple meter changes. Raven Dance was written to fulfill a request by the Cavatina Duo for a piece based on Balkan folk music. Rodríguez. Madrid: Union Musical Española. 97 Carlos Rafael Riveria. and glissandi. The title of this one-movement work is translated as “The Maiden and The Sorcerer.l.riveramusic. “‘Maja’ is a colloquial word used in Spain to refer to a young. Rivera. Ongoing meter changes that utilize both simple and compound meters. The flute part uses many b-3s plus a c-4 trill.” available from http://www.l.Rivera. Rivera. and flutter tonguing. Carlos Rafael. Robert Xavier. After a brief return of the initial material.net/raven.” The composer’s description of the work is as follows. syncopation.net/maja.: Carlos Rivera Music Publishing. Carlos Rafael. as well as syncopation. Internet. and glissandi. The flutist plays challenging technical runs. and thirty-second note figures all are present. transformed. Raven Dance (After Vranjanski Cocek) for Flute and Guitar. “Scores.”98 The one-movement work is rhythmically demanding and contains flutter tonguing and frequent grace notes in the flute part and slides and harmonics in the guitar part. means very cool. followed by four contrasting variations. 101 96 . La maja y el hechicero for Flute and Guitar.97 According to the composer. “The meter is 3/4 + 3/8 which. rasgueado.php.: C.. rapid-fire technique in all registers. Both parts contain areas of technical virtuosity. The opening ‘Maja’ theme reappears in the second half of the work. accessed 1 October 2010. Imagenes del solitario. S. thirty-second note figures. The image of a dancing ‘Maja’ kept appearing as I began composing this piece. Rodriguez. 98 Ibid.”96 Level III is the appropriate category for this piece due to the extreme range used in the flute part (b-3 to e-flat-7). As the title suggests. flutter tonguing. then a statement of the theme. as if hexed. There is an introduction. harmonics. 1997. New York: G. or tricked by a sorcerer. Internet.” available from http://www. this is a virtuosic set of theme and variations based on Wagner’s Tristan and Isolde. Additionally the guitar part combines accompanimental and solo material. into an aggressive. The guitar part contains accompanimental and melodic material. Rafael Albert. triplet figures.php. The guitar part of this six-movement work employs both melodic and accompanimental material and is adorned by percussive techniques. Schirmer. 2003.

Christiane Heine. and the use of thirty-second notes. harmonics. Aquò rai. The flute part contains fast and challenging technique and some elaborate figurations. accessed 2 October 2010. The flute part embodies frequent use of a fluent low register and the guitar part includes harmonics. Rougier. Antonio. and the flute part makes use of quick technical runs. The dynamics feature frequent sforzandi. Cassation für Flöte und Gitarre. Saint-Romuald. The guitarist plays soloistic melodic material. Rhythmically. ties. Award winning American composer Ned Rorem’s Romeo and Juliet contains nine short pieces that are based on several moments in the Shakespeare play with the same title." In Grove Music Online. The flute part includes arabesques and flutter tonguing. Aquò rai is a two-movement work. Schlosberg. The flute and guitar share the melodic responsibility. Antonio Ruiz-Pipó was a French-Spanish composer and pianist who composed in a conservative style rooted in Spanish tradition. "Ruiz-Pipó. Trois esquisses pour flûte et guitare. Lorenz. Oxford Music Online. Quarter note triplets. Cassation is a three-movement work. London: Boosey and Hawkes. 1984. quarter-note-triplets. Additional difficulty includes frequent sforzandi. Schweinfurt: Vogt&Fritz.oxfordmusiconline. Paris: Alphonse Leduc. Nine Pieces for Flute and Guitar. and syncopation. there are compound meter changes. Ruiz-Pipó. Jarcias pour flûte et guitare. frequent thirty-second note figures. 102 99 . meter changes that use simple and compound meter. Hermann. Additionally. The guitar part is equally as involved as the flute part and includes tremolos. Internet. Rorem balances the main melodic material between the flute and guitar parts in the work. Polyphonia is a two-movement work that is listed as a level III due to frequent meter changes. 2001. Ned. triplet rhythms. Schmidt. Frankfurt: Zimmermann. The guitar part includes harmonics. most of which are explained in French only. meter changes. 1995. 1895. 1978. Romeo and Juliet. Both parts include an unmetered first movement. and pitch bends. The guitar part includes both melodic and accompanimental material. syncopation. The guitar part contains melodic and accompanimental material as well as extended techniques. and improvisation for both players. 1994. numerous meter changes and abundant syncopation exist. graphic notation. double dotting. The flute part is lyrical. Benoit. The flute flutter tongues often. Antonio. Trois Esquisses contains syncopation. Schäfer. Thierry.Rorem. and an unmetered introduction. available from http://www. Quebec: Les Productions D’OZ. Polyphonia für Querflöte (Violine) und Gitarre. There are several instances of the flute and guitar passing melodic figures back and forth. Paris: Éditions Maz Eschig.99 Jarcias is structured around a mixture of textural colors and three-movements.com/subscriber/article/grove/music/51886. and some instances of two-against-three create rhythmic intricacy. punctuated with some key clicks as well as flutter tonguing.

accessed 1 October 2010. Gary. both players tackle syncopation. Gary. written by American composer and guitarist. available from http://www. The flute part contains glissandi. Both parts contain frequent melodic decoration. Mixed Suite für Flöte und Gitarre in Vire Sätzen.. 2003. “Compositions. PA: Theodore Presser Company.com/catalog/item/1695137/5065418. Some of these moods/idioms include Elizabethan. 1989. and syncopation. As a virtuoso flutist himself. NH: Falls House Press.” available from http://www. Eva. accessed 1 October 2010. Guitar Part Fingered by Ted Williams. quarter note triplets. Each movement of this three-movement work. Dream Travels.garyschocker. and walking in a dream. Schorr. Bryn Mawr. Thomas Schuttenhelm. Once upon a…. thirtysecond note figures.Schocker.102 Mixed Suite is comprised of four movements. 102 Roswitha Sperber. King of Prussia.. Kassel: Furore Edition. 103 Product Description. Oxford Music Online. 2007. The score is a copy of a handwritten score and is difficult to read. the guitar does have some melodic figures. Capricious meter changes switch from simple to compound and back.103 The work fits into level III due to some writing that extends up to c-7 in the flute part. 100 Gary Schocker. Schuttenhelm. and thirty-second note figures. The texture is mostly homophonic however the guitar plays a lengthy soliloquy at the beginning of the third movement. flamenco. Gary Schocker is an American composer and flutist whose highly melodic style has been compared to Poulenc. "Schorr. melodic and accompanimental material. available from http://www. Francaix and Bernstein. The guitar part employs solo moments. Rhythms are difficult in both parts and include iterative meter changes.html. and rasgueado. explores an aspect of memory that drives the musical argument of the composition..com/subscriber/article/grove/music/2021255. 103 . Although the texture is nearly homophonic. 2001). Thomas. Eva. On the Verge of Remembrance. (Cleveland.. quarter note triplets. 101 Richard Rodda. it is no surprise to see that the flute part of this fairy-tale-like three-movement work includes adventurous technique that extends to d#-7 and flutter tonguing. OH: Azica Records Inc. The guitar part includes harmonics and rasgueado. 1994.101 The flute part includes quick technical runs. The guitarist unfolds frequent solo material. Internet. Nashua. CD liner notes to Dream Travels.100 Each of the movements in this five-movement work evokes a mood or idiom. Schocker. bossa nova. accessed 1 October 2010. Rhythmically.oxfordmusiconline. Eva Schorr is a German composer whose works are serial and characterized by the juxtaposition of linear coloring supported by contrapuntal structures. and slides.fallshousepress. the Salem witch trials. PA: Theodore Presser/Tuscany Publications.htm." In Grove Music Online.com/comps.

large leaps. The guitar part is accompanimental but does contain some melodic figures as well as tamboura.oxfordmusiconline.105 In three movements. 106 Stephen Slawek.” roughly translates to “delighted dawn on the Raga Todi. and several tempo changes. The title here is inspired by the commissioning ensemble. and rapid technique. harmonics. and some melodic figures." In Grove Music Online. and frequent grace notes. Oxford Music Online. Edited by Duo Arrabal. Nosergfol pour flûte et guitare. Whereas both parts incorporate extended techniques. New York: Seesaw Music Corp. Duo for Recorder and Guitar. and percussive techniques in the guitar part and airy/residual tones in the flute part. The guitar and flute roles are equally balanced. double tonguing. Patrice. 1.Schwenk. numerous glissandi. flutter tonguing. and thirty-second note figures. Fredrik Schwenk. bass flute. syncopation. available from http://www. Berlin: Edition Margaux. Arrabalesca for Flute and Guitar. and piccolo and includes express technical runs. Arrabalesca for Flute and Guitar. tremolo. energetic rhythmic life.com/subscriber/article/grove/music/25580. thirty-second and dotted rhythms. 1968. "Shankar. Arranged by Roberto Aussel and André Valade. Fredrik. The title of Sitar giant Ravi Shankar’s challenging one-movement work. 1990. and one measure where the flute appears to be in 6/8 while the guitar is in 3/4. The recorder part of this five-movement work works well for either flute or violin. Ravi. slides." In Grove Music Online. Oxford Music Online. pizzicato and percussive techniques. This edition is a copy of a handwritten score and is difficult to read. The guitar part is written over two staves at times and includes tricky technical runs. Shankar.com/subscriber/article/grove/music/45477. L'aube enchantée sur le raga "Todi" pour flûte et guitare. and double tonguing. accessed 1 October 2010. Rhythmically the piece is difficult for both instruments and includes numerous complex meter changes. Paris: Editions Henry Lemoine. quarter note triplets. comprising pitch bends. 1996. These techniques include tamboura. thirtysecond note figures.”106 The flute part demands a high level of technique. Patrice Sciortino is a French composer whose compositional style features lyricism. Internet. Both parts include frequent syncopation. Robert. the guitar uses them more frequently than the flute. Nosergfol utilizes the cflute.104 The flute part contains some brisk technique. accessed 1 October 2010. Duo Arrabal. 2005. Ravi. plentiful accents and articulation markings. L'aube enchantée sur le raga "Todi. and flutter tonguing. Rhythm is difficult at times and includes syncopation. Patrice. (Berlin: Edition Margaux. Internet. Sciortino. The guitar part is difficult. 2005). melodic frills. Shaughnessy. 105 104 104 . Laurent Feneyrou "Sciortino. and a highly contrapuntal style.oxfordmusiconline. available from http://www.. Paris: Alphonse Leduc.

Renadio for Flute and Guitar. Böcklin für Flöte und Gitarre. Other difficulty involves frequently shifting extreme dynamics and challenging technical runs in both parts. sixty-fourth notes. Roberto. 1995. NJ: Subito Music Publishing. formidable technique. Primera cronica del descubrimiento for Flute and Guitar. demanding technical work. 23. and glissandi in the flute part. available from http://www. Raoul de. Rhythmic difficulty exists in the use of thirty-second notes. quintuplets. The flute part has a section marked "pizzicato effect" that is notated with "x" note-heads. The texture is mostly polyphonic and the guitar is equally as important as the flute. harmonics. 2002. The composer was particularly fascinated with the image of surprise and bewilderment from both sides. These sonatas involve both players in challenging technical passage work. Soewandi. and harmonics. harmonics. Nocturne pour flûte et Guitare Op. These are the second and third chronicles by Robert Sierra. Jean-Marie.107 The flute part contains melodic material and some thirty-second note runs while the guitarist plays both accompanimental and melodic material. Nocturne has large leaps. OH:Editions Orphée. Simonis. 6 Sonatinen Nach Bildern von A. 1976. Smet. Sierra. and flutter tonguing for the flutist and harmonics for the guitarist. whistle tones. Roberto. Thirtysecond note figures and syncopation cause rhythmic challenge. sextuplets. accessed 1 October 2010. multiple meter changes. and aeolian sounds in the flute part. controlled vibrato. and percussive techniques in the guitar part. Columbus: Editions Orphée.htm. 2002.com/chamber. Difficult triplet and syncopated rhythms. Both parts include solo sections and unmetered episodes. Verona. Columbus. and quarter-note-triplets. Stefan. The presence of this pizzicato section is the chief reason for listing this piece as level III. which continue the above annotation. Sierra. glissandi. Brussels: CeBeDeM. The guitar part to Renadio is both melodic and accompanimental and includes percussive techniques and harmonics. Brussels: CeBeDeM. 1994. 107 Chamber Music. Noche serena (bis) para guitarra y flauta. and harmonics and tamboura in the guitar part. Presumably tongue pizzicato or détaché is what the composer wants but no instructions are supplied. Berlin: Edition Margaux. The pieces contain extended techniques that feature flutter tonguing.editionsorphee. This single-movement work includes a mixture of textures. Internet. as well as flutter tonguing and large leaps in the flute part. and Bartok pizzicato. This piece is the first in a series of chronicles composed on the subject of the meeting between the aboriginal Indian culture of the Caribbean islands and the Spanish Conquistadores. and rhythmic intricacy for both instruments. 105 . and harmonics. and glissandi in the guitar part. harmonics. Required extended techniques include flutter tonguing. and awkward meters are all featured.Sierra. Roberto. Segunda y Tercera crónicas del descubrimiento for Flute and Guitar. 1991. ponticello.

2. and harmonics in both parts. Köln: P. This edition is a copy of a handwritten score Taverna-Bech. Frequent meter changes exist from simple meter to compound. The specific meters are not marked. Relaciones fluctuates between various textures. or oppose. without any aesthetic prejudice.”109 The piece is comprised of fourmovements. Stefan. and large intervallic combinations. Relaciones für Flöte und Gitarre. 108 109 Gerhard Stäbler.Soewandi. Both performers are required to play challenging technical passages in this Sonatina. 1. Dynamics change frequently and are extreme (pppp to fff). Karen P. (Essen: Aktive Musik. flutter tonguing. tamboura and harmonics. 2000. fast technique. Required extended techniques include flutter tonguing in the flute part. meter changes. The guitar part contains both melodic and accompanimental material. Stefan. 1999. composition orientations of a different nature converge. through an open dialogue in which. and the fifth to g and the sixth to d in the second movement. Temps de lluna is described by the composer as creating an “oneiric world.108 The flute part carries the main musical line over sparse guitar accompaniment. A specific rhythmic difficulty is the presence of five-against-three. Thomas. ornamentation. Francesc. 1999). multiple meter changes and challenging rhythms. Temps de lluna. Gerhard. and harmonics and tamboura in the guitar part. Francesc Taverna-Bech. where either may embrace. The flute part executes large leaps along with some graphic pitch notation. Moon’Scape für Flöte und Gitarre. Thomas. 106 . The guitar part contains mostly one-lined melodic material mixed with some chordal work. S. Barcelona: Clivis Publications. as well as double dotting. 1992. Desert Songs is a three-movement modern work that contains an assortment of textures. Saarbrücken and Karlsruhe. Tonger Musikverlag. The flute part contains a range that extends to d-flat-7. Edited by Stephan Schäfer. According to the composer this work emerged in December 1996 durring trips to Houston. (Barcelona: Clivis Publications. Stäbler. Berlin: Edition Margaux. a harmonic type of indication that is difficult to decipher. The guitarist plays rasgueado.l. The guitarist is instructed to tune the fifth string to a-flat and the sixth to e-flat in the first movement. Moon’Scape für Flöte und Gitarre. Essen: Aktive Musik. 1996). Desert Songs for Flute and Guitar. Thomas. Temps de lluna. advanced rhythms rhythms. 2000. however bar lines are present and the piece appears to be in 4/4 and 3/4. Sonatina for Flute and Guitar. and a glissando. 1996.J.: Karen P.

Torrent.]: Merion Music. long white plains of blankets of snow. La ballade d’Irina involves the use of graphic notation. Dan van. New York: Associated Music Publishers. David Leisner. and Dear Departed by Robert Lindsey Nassif. includes: River Bend by John Thow. 1987. 2003. harmonics. Internet. “There are many different images of snow. rounded drifts.Thow. Many of these images can be found in the piece. block chords. percussive techniques. Jerry Owen. Vactor. The listener will determine that choice. and harmonics. Ornamentation.com/default. Saint-Nicolas.”110 Vachez. The flute and guitar parts in Snow Dreams are equal in importance and difficulty. The first movement is for solo guitar and the second movement begins with a flute solo. Five Songs for Flute and Guitar. a distorted note. Tower. and extended techniques that consist of flutter tonguing and key clicks in the flute part. The first movement is unmetered. The guitar part contains grace notes. Difficulties seen throughout include quick technical runs. they need to be found at all. “Snow Dreams.schirmer. 1986. and scalar runs. 1996. and speaking in the guitar part. This collection of works. and glissandi are included in the flute part. Regarding the piece.” available from http://www. especially in terms of articulation. Joan. and Robert Lindsey Nassif. accessed 4 October 2010. Pa. Both parts include meter changes and sections where the guitar is in 6/8 while the flute is in 2/4. The guitarist plays arpeggios. Hidden Tango by Jerry Owen. The Red Cedar Collection: for Flute and Guitar: Artistic Celebration for the 21st Century. the composer notes. tremolo. Barcelona: Casa Editoral de Musica Bolieau. Jonathan Chenette. abstruse rhythms.aspx?TabId=2420&State_2874=2&workId_2874=23908. and speaking in the flute part. [Bryn Mawr. meter changes. El Coco by David Leisner. This three-movement work is highlighted by cadenzas for both performers. ponticello. 45 violin o flauta i guitarra.. and rasgueado in the guitar part. La ballade d’Irina. The flute part contains technical demands. 110 Joan Tower. Fast Track by Jonathan Chenette. its forms and its movements: light snow flakes pockets of swirls of snow. damp resonance. and tasteria This piece is moderately challenging and contains meter changes. if in fact. and extended techniques. etc. glissandi. John. glissandi. alternate fingerings. 1976. Gary Schocker. Jaume. Caution to the Wind by Gary Schocker. grace notes. and portamento. The flute writing in Five Songs explores flutter tonguing. sustained b-3’s. Canada: Doberman-Yppan. melodic material. 107 . New York: Roger Rhodes Music Ltd. each inspired by a collection of art in the Cedar Rapids Museum of Art. Rhythms in both parts include syncopation. and optional alto flute. harmonics. light and heavy snowfalls. Sébastien. Snow Dreams for Flute and Guitar. trills and grace notes. harmonics. Sonata op. 2000. using different parts of the finger other than the nail. and glissandi and pizzicato appear in the guitar part. There are also lengthy solos for both performers. Some of the extended techniques used include flutter tonguing.

flute. 2002). Bühl/Baden: Antes Edition. and flutter tonguing. This edition is a facsimile.” available from http://www. Cadenzas appear in both parts. Vilén. was originally scored for flute. Some Towns and Cities for Flute and Guitar. and glissandi in the guitar part. 2002. Estonian composer Peeter Vähi’s works are characterized as having “broad-minded stylistic versatility. 1900’s. Edmundo. “Biography. This work represents the three cities. harmonics. harmonics. Extended techniques are demanded in both parts and include glissandi. 1999. Alturas II pour flûte et guitare. retuning the sixth string to d and fifth to b. and golpe in the guitar part. 108 . Rhythms that are taxing include meter changes. The flute and guitar arrangement contains a variety ornamentation and extended techniques. key clicks. and thirty-second notes. Asko. Frequent thirtysecond and sixty-fourth note figures and double dotting are also required. WA was originally for percussion. Mystical Uniting für Flöte und Gitarre. muffled sound. flutter tonguing.”111 His one-movement work. Rhythmic difficulty includes simple meter changes and the use of triplets. and harmonics in the flute part. Both instruments have solo and melodic material throughout. Some of these techniques include slides. Some Towns and Cities for Flute and Guitar. and other flute techniques with instructions only in Finnish. MA. FL was originally a guitar duo. oboe. pizzicato. skillful application of exotic instruments and electronic facilities. Miami. and guitar. percussive techniques. Vázquez.Vähi. Miami. Paris: Editions Henry Lemoine. and guitar. and Dennis. MA is the first piece Verdery ever wrote for flute and guitar. The guitar parts contain several advanced techniques including. Seattle. Peeter. and flutter tonguing in the flute part and harmonics. Extended techniques seen throughout both parts of this single-movement work include tamboura. 1. Dennis. Benjamin. Alturas II is comprised of two movements. and rasgueado in the guitar part. and thirty-second notes.htm. tamboura. glissandi.com/p_PeeterVahi. ties. 2004. and ponticello. and a wide range of moods from philosophical and meditative right through to baroque movements.112 The flute parts contain intricate technique and the use of alto flute. one movement for flute solo. 111 Peeter Vähi. The flute part features a cadenza. accessed 4 October 2010. New York: Mushkatweek Press. [Helsinki]: Suomalaisen Musiikin Tiedotuskeskus. percussive techniques. Internet. Mystical Uniting. violin. double bass. (New York: Mushkatweek Press. Verdery.erpmusic. tongue slaps. and Seattle and is part of a series of fifteen. and the other for guitar alone. syncopation. Uno pezzo per flauto e chitarra. listener-friendly sound. 112 Benjamin Verdery.

This rhythmically challenging one-movement work reflects hope radiating from the sun on a long Winter’s day. CT: Walker Music Productions. 1. mordents. mordents and glissandi in the guitar part. Walker. Gwyneth. The piece frequently uses triplet rhythms and. CT). Accompanimental writing and melodic writing. 1999. Technique is difficult in both parts. The guitar part is not a traditional chordal accompanimental part. TX: Southern Music Co. New Canaan.Villa-Lobos. Heitor. Heitor Villa-Lobos. 2008).html. Vogel. The famous work. This is a collection of five fantasies/studies that include a variety of ornaments. 1986.gwynethwalker. Assobio a játo (The Jet Whistle). Walker. Winter Sun for Flute and Guitar. 1996. Gwyneth. 2008. Buss Publications. FL: Howard J. Flute part edited by Veronica Mascare. Assobio a játo. as it includes melodic and technical figures as well. as well as pizzicato decorate the guitar writing. and a few extended techniques. is titled after the flute extended technique called a jet whistle.113 The work contains three-movements and was originally written for flute and celllo. Internet. Rhythmic difficulty for the two players incorporates syncopation and meter changes. and the extended technique instruction to play glissandi imitating upward whistles... Winter Sun for Flute and Guitar. FL: Howard J. Silvermine Suite for Flute and Guitar. Rhythms generally are standard but do include thirtyseconds in both parts. Louis: MMB Music Inc. “Silvermine Suite. Arranged by William Newman.” available from http://www. Roger C. Lakeland. flutter tonguing and portamento in the flute part. Five Pieces for Flute and Guitar. and rasgueado.. moderately difficult technical demands exist. St. Assobio a játo (The Jet Whistle). Some of these ornaments and techniques comprise grace notes. jet whistles. Dynamics change frequently. Silvermine Suite was composed to commemorate the opening of Sara Victoria Hall at the Silvermine Guild for the Arts (in Silvermine. (Lakeland. accessed 7 October 2010.115 The four-movement suite qualifies for level III because the flute part requires flutter tonguing and the guitar part involves harmonics. San Antonio: Southern Music Co. if a quick tempo is taken. 109 113 . (San Antonio. 1996) 1. 115 Gwyneth Walker. The flute part contains large leaps. Buss Publications.com/silvermi. trills. 114 Roger Vogel.114 Meters change frequently and alternate between simple and compound.

Werdin. and rasgueado and glissandi in the guitar part. Edited by Karl Scheit. Weiner. Stanley. and meter changes are present. syncopation. Edited by Ian Morton. Werdin. Edited by Lynn Harting Ware. Serenade Op. 1980) 1. Concertino für Flöte und Gitarre mit Streichorchester. harmonics and pitch bends in the flute part. These techniques include glissandi. The guitar part includes much melodic material. Guitar realization by Paul Barrett. Both instruments share the role of presenting the main melodic material. Peter. harmonics. 2. San Antonio. 1 is a six-movement work that contains extended techniques in both the flute and guitar parts. shapes. Chama “The Eagle and the Plumed Serpent” for Flute and Guitar. 1972. Eberhard Werdin. Edited by Karl Scheit. The guitar part calls forth rasgueado. This work originated in the colors. Flutist and composer Tim Wheater’s Dream Pipe No. Toronto: Acoma Nambe Editions. Tim. The guitar writing involves some melodic invention usually combined with tricky arpeggio figures. (Toronto: Acoma Nambe Editions. Eberhard. Köln: Musikverlag Hans Gerig.116 Both parts include glissandi and arabesque melodies. (Vienna: Doblinger. Wheater. Vienna: Doblinger. 79 für Flöte und Gitarre. TX: 1982. Many ties. Tim Wheater's Dream Pipe No. Eberhard.117 The flute part contains flutter tonguing and mordents.Ware. Serenade is a rhythmically intense three-movement work in which meter changes are difficult and frequent. 117 116 110 . Frankfurt: Zimmermann. This three-movement concerted work features meter changes. Chama “The Eagle and the Plumed Serpent” was commissioned by the National Endowment for the Arts and was inspired by the writings of Carlos Castaneda. and quarter note triplets. The flutist is required to flutter tongue and perform defiant technical runs. The guitar part also includes some tamboura and natural harmonics. Peter Ware. Some of the chordal guitar accompaniment includes chords that are specifically notated and others that are written using tablature and rhythmic notation. 1. and frequent melodic material. and movements of the fish that the composer viewed in a visit to the Cologne Aquarium. The guitar part mixes soloistic and accompanimental material. The flute part begins with a lengthy opening solo and there is frequent use of b-3 and a range that extends to E Flat-7. Capriziöse Impressionen aus einem Aquarium für Flöte und Gitarre. syncopation. Other facets of the flute part include quick technical passages and sections where double tonguing is required. Chama. 1980. 1984. 1992). 1992. Capriziöse Impressionen aus einem Aquarium für Flöte und Gitarre.

Confidencial No. Michael. demolished due to the construction of the Urquiza Dam... 2. Odd meters. 2004. Internet.. The flute part of this suite features lyrical embroidery and flutter tonguing. make the ensemble challenging of the flute and guitar part. Bartok pizzicato. Edited by Peter Segal. The guitar part is mostly accompanimental and also contains harmonics and rasgueado. 1ste suite voor fluit en gitaar.118 The flute part contains quick low register runs which use c# and d-4. Wijdeveld. Primavera. 1985.120 The flute part encompasses sections of challenging technical runs and frequent grace notes. Saint-Romuald. Canada: Productions D’OZ 2000 Inc. Edited by Peter Segal. Amsterdam: Donemus. White. Edited by Peter Segal. Pierre. thirty-second notes. 1992. 111 . and sections of five-against-eight.. Quebec: Les Productions D’oz 2000 Inc. ponticello. The Waterford Foundation. 2004). French composer Pierre Wissmer’s Sonatine is in three-movements. The guitar part contains chordal and melodic accompaniment along with harmonics. Edited by Konrad Ragossnig. Confidencial No. and harmonics. 1. Both parts includes rhythms that utilize meter changes from 2/4 to 3/8. 119 Michael White. frequent meter changes. Yagüe. Madrid: Opera Tres. Paris: Editions Max Eschig. Suite pour flûte et guitare. The guitar plays both accompanimental and melodic music. some two-against-three as well as syncopation. (Saint-Romuald. Primavera is a musical tribute to the painting by Sandro Botticelli. available from http://www. 2002) 1. quarter-note-triplets. (Quebec: Les Productions D’oz 2000 Inc. 120 Waterford Concert Series Program 2010 Program for the Cavatina Duo. 2002. Canada: Productions D’OZ 2000 Inc. White’s Suite was inspired by the French baroque composers. quintuplets. Suite pour flûte et guitare. Wissmer.html. 118 Michael White. syncopation. Wolfgang. The flute part requires double tonguing. This is a copy of a handwritten score that is difficult to read. 1965. 2 was originally written in 1989 to salute the demise of the province of Burgos (Spain). The guitar part contains both accompanimental and melodic material along with rasgueado. and tamboura. Sonatine pour flûte et guitare.waterfordfoundation. The composer asserts that he tried to capture the lyrical beauty of the perfect moment in time displayed in the picture. accessed 15 July 2010. Rhythmic difficulty in both parts includes double dotting and two-against-three. percussive techniques.119 The flute part includes flutter tonguing. François Couperin and JeanPhilippe Rameau and their fascination with the rhythm of each dance above all other elements. Alejandro.White. Primavera. and compound meter with duple eighth note rhythms. and some moderately challenging technical passages.org/concerts/program-march. Rhythms in both parts include meter changes between compound and simple. Michael.

html. German composer Freidrich Zehm’s compositional style is characterized as being freely tonal.com/shop/persons/featured/20923/index. Malinconico and Misterioso. The flute part contains large leaps. melodic material. The other two movements. are for flute and piano and or flute and harp. Sixty-fourth notes. Additionally the flute parts of these works include grace notes and melodic material and the guitar parts contain a mix of melodic and accompanimental material. meter changes. Rhythmically. Schott. 1958. Internet. Rhythmic challenge in both parts includes thirty-second note figures. and flutter tonguing.” available from http://www. Julien-François Zbinden is a Swiss composer whose Quatre minatures op. golpe and rasgueado.Yamashita. and key clicks.121 His Serenade is unfolded in three-movements. and trills. José. tremolos. syncopation. meter changes from simple to compound. Mainz: B. both parts include syncopation. Dynamics include several sforzandi in both parts. The guitar part includes block chords. Zehm. Spain: Boileau. Le paradis des enfants is a collection of eleven concise movements. 2002. Bloomington. Cahier d’amiens. grace notes. double sharps.” Zárate. Grazioso covers a flute range of b-3 to b-6. The melodic material in the flute part contains many accidentals. humorous. “Profile. triplets. tremolo. Only one of the Tre pezzi is for both flute and guitar (Grazioso). Quatre miniatures op. Serenade for Flute and Guitar. ornamentation. duple rhythms in compound meter. Köln: Sidemton Verlag GMBH. 2006. IN: Frangipani Press. The guitar part includes rasgueado and melodic as well as accompanimetal material. tamboura. Zbinden. and frequent unison rhythms between flute and guitar. Le paradis des enfants für Flöte und Gitarre. 14 contain frequent meter changes and thirty–second note figures. arpeggios. large leaps of up to two octaves. Freidrich. 14 pour flûte avec ou sans accompangement de piano ou de guitarre. The guitarist plays harmonics and both accompanimental and melodic lines. Meters change often. Dynamics include frequent “ffz’s. thirty-second notes. 121 Friedrich Zehm.schottmusic. Julien-François. Barcelona. Luigi. Zaninelli. scales. unusual meters (10/8) and sections of polyrhythm are all to be found. 112 . accessed 8 October 2010. 1984. Toyoko. and two-against-three. Tre pezzi. and having pronounced rhythm and subtle counterpoint. 1977. The flute part incorporates thirty-second note runs. flutter tonguing. Cahier d’amiens is a rhythmically sophisticated four-movement work. Remscheid: Waldkauz.

LEVEL IV: ANNOTATED WORKS Flute pitch range: The flute range includes b-3 to f-7 and there may be frequent large leaps (2 octaves or larger). Guitar texture: The guitar texture may use all of the elements in the previous levels but the material becomes more challenging in level IV. Chance elements such as unspecified pitches and rhythms are used. Technical passages contain large leaps and are frequently not based on scale or arpeggio patterns. Aki. The guitar part contains several special techniques that include: natural and artificial harmonics. glissandi. Theodore. Flute and guitar ornaments: All possible ornaments may be used. Quick technical runs and leaps abound. and harmonics in the guitar part. The piece contains cadenza sections in both parts as well as complex rhythms. tasto. Both flute and guitar parts use extended techniques. use of cadenza. all meter possibilities. the lack of a meter. Flute and guitar rhythmic complexity: Rhythms may contain all rhythmic combinations. Ensemble texture/rhythm: All possible textures and all possible complementary or noncomplementary rhythms may be used as well as frequent accelerando. Frequent dynamic changes and extreme shifts may exist. Antoniou. frequent large leaps up to two octaves. Flute and guitar extended techniques: These pieces may include the frequent use of all possible extended techniques. Munich: Edition Modern. 113 . and flexible tempos. These include flutter tonguing and glissandi in the flute part and ponticello. The flutist and guitarist both have solos and cadenzas. Tohru. Noon City Suite. ad lib. and abrupt dynamic shifts. tempo changes. accents and changing and difficult meters. A five-movement work. and overlapping the bottom two strings to produce a snare-drum effect. frequently changing meters. tamboura on the strings and body. frequent syncopation. and non-standard rhythmic notation. frequent meter changes. ritardando. 1963. rasgueado. Noon City Suite contains complicated rhythms and complex. Graphic notation of pitch and rhythm elements also may be used. Dialogue is a piece comprising eight main sections played without a pause and featuring a tempo and meter change. Tokyo: The Japan Federation of Composers. Flute and guitar dynamic range: All dynamic possibilities may be used. Bartok pizzicato. harmonics. Dialogue für Flöte und Gitarre. 1992. difficult rhythmic combinations. The flute part contains flutter tonguing.

singing and playing. Stichomythia: For Flute and Guitar. and harmonics. Peters. which is obtained by bending the pitch of b-natural-3. Becker. harmonics. quick tempos.122 Composed in 1989. The guitar part contains difficult passages. vibrato indications. and extreme ranges. In this five-movement work Beccaceci uses a patchwork of textures. Milton.edu/subscriber/article/grove/music/0164 5?q=milton+babbitt&search=quick&pos=1&_start=1#firsthit. “Con buen ayre. and difficult standard technique feature in this three-movement work.unlv. non-scalar technique. Dynamics shift frequently and drastically. Ancona. Soli e duettini. The flute part contains fast. Poland: Edition Kraków. Technique and rhythm are challenging in both parts. The piece is also rhythmically abstruse due to its use of counter rhythms. 1995. Frankfurt: Zimmerman. harmonics. New York: C.” Duplum für Flöte und Gitarre Solo.ezproxy. 1991. Babbitt. key clicks. extended techniques. and meter-less sections. no date. and altered pitches. large leaps. The flute utilizes trills. Rhythm of the piece is complex and graphic notation is used. 2010.library. traditional notation is used with dotted lines to indicate measures. tremolos. and harmonics. slap tongue. Challenging rhythms. Jerzy. 1978. Grove Music Online “Babitt. Bauer.com. 114 . over-blown trills.Antoniou. grace notes. and tamboura. Milton Babbit is a highly influential American composer and teacher who has contributed significantly to the 12-tone compositional theory and practice of the twentieth century.F. ornamentation. percussive techniques for the guitar. Stichomythia gives the flutist and guitarist extensive extended techniques that include notebending. large leaps. Theodore. In three movements. It is suggested that the sixth guitar string is replaced with a lute string. ponticello. however. Instructions are only given in Italian. random note tremolos. Extensive extended techniques are used and include flutter tonguing. Dialoguing Monologues uses graphic notation. harmonics. rasgueado. Soli e duettini is rhythmically difficult with frequent complex meter changes. and key clicks. this one-movement work is primarily polyphonic but does also include monophonic and homophonic textures. and harmonics. and air sounds for the flute. flutter tonguing. Dynamic markings are extreme and change frequently in both parts. Internet. specifically the element of non-specified pitches. guitar percussive techniques. accessed 21 September. London: Bärenreiter. pizzicato. Roberto. in both parts. Günther. 122 Elaine Barkin and Martin Brody. 1963. Dynamics change frequently and drastically in both parts. Dialoguing Monologues for Guitar and Flute. chords.” available from http://www. None of the movements are metered. Italia: Bèrben. multiphonics. Difficult standard technique includes quick runs.oxfordmusiconline. The guitar part uses rasgueado. glissandi. Milton. Beccaceci. The flutist covers the full range of the instrument plus the use of b-flat-3. Suite in mi per flauto e chitarra.

Many different types of extended techniques are used frequently in both parts. Movement two contains sporadic instances of nontraditional notation also. Guitar part edited by Àlex Garrobé. vibrando (flutter tonguing). This composition unfolds over four short movements. striking the string with a tuning fork. and rasgueado in the guitar part. key slaps. 115 123 . tongue vibrato. 1976. harmonics. artificial harmonics. Edited by Matsuo Basho. Moisès. Frankfurt: Zimmerman. Bertran. Barcelona: Clivis Publications. 1996).Behrend. Helsinki Finland: Edition Pan: 1980. and percussion. Challenging rhythms. 2007. Chance elements are used for both pitch and rhythm. (Berlin: Ries and Erler. singing and playing. key vibrato. Instructions for the techniques are in Spanish and German. but the explanation of the non-traditional notation is in German. The explanation of guitar fingerings is translated into English. non-pitched tremolo. Most of the ten movements in this work are homophonic and use traditional notation and standard rhythms. However the fourth and eighth movements include graphic notation. Guitar extended techniques include bisbigliando and harmonics. and multiphonics in the flute part and percussion. tricky runs. Erik. Der in unsere Zeit zurüchgekehrte Troubadour für Flöte oder Altsaxophon und Gitarre. Mariangeles Sanchez Benimeli. and extended techniques appear in both parts of this seven-movement work. using the left hand only to activate the strings. Bergman. Chance rhythmic elements are also used. Some of the more difficult flute techniques include tongue rams and whistle tones. beating the mouth-hole of the flute with index finger. frequent meter changes. This is a one-movement work based on a Spanish legend of a troubadour who visits the twentieth century. ornamentation. percussive techniques and flutter tonguing in the flute part. whispering into the flute. Miniatures per gaudí per a flauta i guitarra. 3. and several extended techniques that include multiphonics. Der in unsere Zeit zurüchgekehrte Troubadour für Flöte oder Altsaxophon und Gitarre. fast double tonguing without tone. Siegfried. key clicks. glissandi. 1996.123 The flute and guitar parts both contain difficult thirty-second note runs. holding a note while increasing the distance between the lips and mouth hole. Benimeli. These techniques include whistle tones. Berlin: Ries and Erler. tremolo. Haiku-Suite für Flöte und Gitarre. Mariangeles Sanchez. Some nontraditional notation appears. tongue rams. Dialogue for Flute and Guitar. challenging rhythms. and the use of a spoon in the guitar part.

These are three short. William Bolcom responded with. glissandi.126 The three-movements in this work are metrically free and rhythmically complex. Paris: Alphonse Leduc. 124 Chamber Music. Instructions for the graphic notation and extended techniques are written in French. The work invokes a 1930s movie veranda set: fig trees stand in the background... 1975. Extended techniques used include rasgueado in the guitar part and flutter tonguing. available from. 2010. Bozza. Various extended techniques used include multiphonics. The flute and guitar parts are equally difficult and share melodic material. Eugène. PA: Theodore Presser.oxfordmusiconline. Texturally the flute and guitar are equal partners. pour guitare accompagnée d'une flûte.php?contentID=1023. Internet. 2010. September 18. The absence of a meter and frequent use of graphic notation for both pitch and rhythm are featured in this single-movement work. Polydiaphonie pour flûte et guitare. 2010). Tres Piezas Lindas is comprised of three pretty pieces – a ray of Mediterranean or Gulf coast sunshine to cheer people up in the middle of a long Midwestern winter.Bolcom. chance elements. availavle from. Eugène. When asked about his inspiration for the piece. The piece is not metered.com/subscriber/article/grove/music/03791. William. flutter tonguing.com/index. harmonic bursts. Bousch. Eugène Bozza was a twentieth-century French composer and conductor who composed a substantial amount of chamber music for wind instruments. accessed 17 September. e-mail from the composer. Both the flute and guitar parts include technically onerous runs and many extended techniques. the scent of gardenias is in the air. glissandi. rhythmically difficult pieces written by the Pulitzer Prize and Grammy winning composer William Bolcom. 1983. Oxford Music Online. timbral trills in the flute part and rasgueado for the guitarist. This edition is a copy of a handwritten score and is difficult to read. 125 William Bolcom. The flute part contains recurrent large leaps. Extended techniques used include flutter tonguing and harmonics in the flute part and harmonics in the guitar part.”125 Bosco. (accessed 17 September. and quickly changing." In Grove Music Online. “William Bolcom”. Francois. Byrn Mawr. harmonics. Comme chante la source. "Bozza.124 Challenging quick runs are present in both parts. Ensemble issues may arise in rhythmically aligning the parts. and tremolo for the flutist. and harmonics for guitar. http://williambolcom. Milano: Edizioni Suvini Zerboni. “I have a crush on Spanish and Latin music. extreme dynamics. Melisma per flauto e chitarra. probably because I have none of either culture in my family. and key clicks in the flute part. Melisma is a one-movement work that contains difficult rhythms. 126 Paul Griffiths. Gilberto. http://www. 116 . Tres piezas lindas for Flute and Guitar. Paris: Geugel et Cie. thorny runs that use the full range of both instruments. double tonguing. Extended techniques include key slaps. Internet. and frequent use of grace notes. 2005. 1972.

Five Scenes for Flute and Guitar. 2010. Extended techniques include over-blowing. with the guitar acting as sorcerer. harmonics. Marc-Antonio. e-mail from the composer. Chatman.” 127 Extended techniques include harmonics and microtones in the flute part. Loris O. 1980. fingernail taps. Jennifer A.Brown. and tapping the guitar body with fingertips and nails. and speaking in the flute part. grace notes. Sonnets for Flute and Guitar. grace notes. dynamics that change almost every beat. The flute part contains many large leaps. simple-to moderately-difficult arpeggios.” “unmetered time. sections of controlled vibrato.l. describe five different types of fortune-telling. flutter tonguing. and playing with the left hand alone. The guitar part includes humming. trills. “The five movements.” and “spatial rhythm. The three movements of Tre fiori musicali contain free rhythm/meter. The composer says.Y. Chapters from the Chronicles is a rhythmically complex piece in a single movement. instruments play in spatial time relationship. mystic. The flute is cast in the role of the novice. pitch oscillations. 1984.: Jennifer A. Tricky rhythms. and rasgueado in the guitar part. key clicks. or teacher.: Edward Marks. Dynamics are specific and change frequently. microtones. 1983. fast double tonguing. singing and playing. trills. 1987. September 10. and harmonics.” Chobanian. Augury won the National Flute Association’s Newly Published Music Competition in 1988. Consoli. Edited by David Leisner and Elizabeth Sziek Consoli. Extended techniques occur frequently in both parts and include. metal or glass tube slides. bottleneck slide. played without pause. N. and flutter tonguing. harmonics. No meter is indicated and graphic notation is used. and some fast technique appear in both parts of this four movement work. S. and harmonics in the guitar part. New York: Rinaldo Music Press. syncopation. Guitar fingerings are provided by David Leisner. The flute part specifically contains fast technique. Chapters from the Chronicles. percussive techniques. Quebec: Doberman. quarter tones. frequently changing dynamics. and percussion for the flutist. New York: Cormorant Music. and activating the strings with a bass bow. Stephen. and pitch bends. Augury. Guitar fingerings by Stephen Chatman Melville. 117 . toneless attacks. tamboura. 1992. Conner. and melodic material. 127 Elizabeth Brown. wind sound. The flute doubles on piccolo in the finale of this five-movement work. The piece is treated freely with instructions such as “free time. glissandi. Conner. Elizabeth. synchronized parts. Alto flute is required. graphic notation. The guitar part contains block chords. brushing the strings with fingers. large leaps. and extended techniques for both the flute and guitar. runs with odd leaps. Tre fiori musicali for Flute and Guitar.

Sonate für Flöte und Gitarre. Violeta. ornamentation. 2010. Edited by Raphaël Andia. or 1-3 flutes and 1-2 guitars. and tenor recorder/flute. 118 . large leaps. Chiardiluna per Flauto e Chitarra. 1992. a variety of non-metered sections. Liner Notes from Duo 2XM Plays Shankar. specific and frequently changing dynamics. (SFZ records/Sforzando Prod 2003). extended techniques. Milan: Edizioni Suvini Zerboni. Ducol.128 The works contains an array of extended techniques in both parts.Corghi. 4 Sera. Much is left to the interpretation of the performers. Möller. Dinescu.it/-mistakes.129 This three-movement sonata contains strenuous technical runs and rhythms. Paris: Éditions Max Eschig. Edison. Des scènes d'enfants pour 1. difficult rhythms. Atréju duo is a rhythmically advanced work.nucciodangelo. no. A panoply of extended techniques. frequent meter changes. Extended techniques are used frequently in both parts. ou 3 flûtes et 1 ou 2 gitares. The instructions for the extended techniques are supplied in German. The dynamics are extreme and change frequently. 2. Extended techniques include flutter tonguing and quarter tones in the flute part. Quattro Travestimenti was commissioned in 1985 by the film director Paolo Carradori for a documentary on the lagoon of Orbetello. The first movement is unmetered. Bruno. Chance elements such as accelerando and reverse indications occur within technical stretches. Azio. 1: Alba. Sierra & Agdur. Paris: Alphonse Leduc. Quattro Travestimenti pour flûte à bec ou flûte traversière et guitare no. It depicts four phases in a day spent at the places each title indicates. Atréju duo per flauto e chitarra (1983). Denisov. and. no. Instructions for the techniques are not given in English. 2 Barcarola (guitare seule). Hamburg: Musikverlag Hans Sikorski. Edison Denisov is a Russian composer who studied composition and piano at the Moscow Conservatory. CD SFZ 1007 [p]&[c]. difficult rhythms that utilize chance elements. however there are specified rhythms and meters. and glissandi in the guitar part. Internet. This is an advanced but colorful and charming work scored for flute and guitar. Guitar part edited by Monika Rost. NUCCIO D'ANGELOGuitarist/Composer. The texture is pointillistic. Nuccio. and frequent dynamic changes. and chance elements. 1984. no. available from http://www. 128 “Mistakes and Comments to Some of the Published Compositions”. 129 Anders Bråtén. in the third movement. D'Angelo. It is interesting to note that this piece is written on one to three staves for both performers. 1978. accessed 10 September. Berlin: Astoria Verlag. 1988. and frequently changing meters are used in both parts of this one-movement work. Instructions for the extended techniques appear in French. The guitar part involves both melodic and accompanimental material. 3 Mercato. Both parts include difficult rhythms. Burkhard. Denisov. The texture is polyphonic. The flute part requires bass. quick runs. 1990. alto. The flutist must play bass flute. extended techniques.

rhythms are complex. Maria. and several advanced extended techniques. Madrid: Editorial Alpuerto. and dynamics are specific and change frequently. Bartok pizzicato. dry chords. Nulla Dies is based on a quotation by Leonardo da Vinci. and singing and playing in the flute part. Nulla Dies. key tremolo in the flute part. flutter tonguing. indifference. multiphonics. (Belgium: Perform Our Music. The composer describes the pieces as: “the mime bonds onto stage. glissandi.Dünki. Homenaje a Marcel Duchamp para flauta y guitarra. Mime VI. 1990’s). Version für (Holz-) Querflöte und Gitarre. and chance elements are used in both parts. flutter tonguing. 119 130 . The guitar is an equal partner to the flute. harmonics.. 1. Francisco. The score is a facsimilie manuscript and difficult to read. and the use of a bottle neck in the guitar part. This three-movement work contains challenging rhythms and a mix of homophonic and monophonic texture.1. Memorias del viento flauta y guitarra. kissing noises. grace notes. Some of these include flutter tonguing. Madrid: Editorial de Musica Española. Nulla Dies. 1994. Version für (Holz-) Querflöte und Gitarre. 1990’s. 1992.. The range used is from the lowest note possible to the highest note possible for both instruments.. 131 Jacqueline Fontyn. key clicks. Some extended techniques used include quarter tones. and extended techniques all feature. München: Edition Ricordi. 1997. while the guitarist plays with a tuning fork. Mime VI was originally written for flute and piano. tamboura. moderately difficult rhythms. Belgium: Perform Our Music. mystery. (München: Edition Ricordi. Spanish composer Francisco Estevez includes frequent and extensive extended techniques for both performers. Mime VI. Jean-Jacques. The flute range extends to d-7 and includes difficult technical passages. percussive techniques. ornamentation. anxiety and the restlessness succeed each other before a tranquil conclusion after which the mime disappears on tiptoe. Estevez. chance pitch and elements. and uses a pencil on the strings. A meter is not specified.”131 Both the flute and guitar parts demand sophisticated technique. 1997). as well as percussive techniques. Jacqueline. Frequent extended techniques as well as challenging traditional technical passages. Fontyn. Some of the extended techniques used include: sound trumpet (a technique of buzzing into the flute like a brass player). Jean-Jacques Dünki.. it tells its story in which expressions of lightness. Escribano.. and harmonics in the flute part and percussive techniques and harmonics for the guitar.130 An absence of specified meter.. quarter tones. rhythmic subtlety.

Ulrich. 2002. e-mail message from composer. Skizzen für Flöte und Gitarre. Hermann.. Gentile. Harawi contains abundant rhythmic challenge. Extended techniques are used frequently in both parts and are explained in German only. flutter tonguing. These last include quarter tones and portamento in the flute part. Barcelona: Catalana D’Editions Musicales. Luis Jorge. “Sketches. and harmonics in the guitar part. 1990. Philadelphia: Kallisti Music Press. breath sound. one for flute and guitar and one for guitar solo. Both parts additionally include multi faceted traditional technique and ornamentation. ties. El silencio después de la lluvia "The Silence After the Rain. Skizzen für Flöte und Gitarre. piccolo. 1982.n. and several extended techniques. According to the composer.133 This version contains three movements. Milan: Casa Ricordi. Rhythms are free and challenging. Ada. The flutist plays c flute. (Köln: Verlag Kohr. This piece uses advanced extended techniques. and complex rhythms. cadenzas.: s. 1991. Quick moments (1990) per flauto e chitarra. Dynamics are specific and frequently changing. Skizzen was originally written for flute and cymbals but subsequently reworked for flute and guitar. The title translates to." for Flute (3 Sizes) and Guitar. pitch bends. Hermann Grosse-Schware.132 Esoteric rhythms with frequent meter changes that shift between compound and simple are included. Quick moments showcases extended techniques. tongue rams. Grosse-Schware. 2010. Gonzalez. Köln: Verlag Kohr. The flute part contains a range that extends to f7. 132 133 Orlando Jacinto García. and quarter tones in the flute part. Herbstkälte im Nebel means “Autumn cold in the fog” and is a collection of two works. double dotting. Harawi para flauta y guitarra. graphic notation. The flute and guitar work is meter-less. Gasser. 1998. Herbstzeichen für Gitarre. and extended techniques are used in both parts. residual tones/breathy sound. quarter note triplets. and percussive techniques and strumming instructions for the guitar. “Magic” flauta y guitarra. Orlando Jacinto. Some extended techniques used include flutter tonguing. and ornamentation in both parts. and double tonguing in the flute part. 1. and alto flute. 1998). frequent use of graphic notation. 1980. challenging technical stanzas. Herbstkälte im Nebel: für Flöte und Gitarre. September 11.l. Joan. but contains bar lines and a tempo indication based on eighth notes. quarter-tones. rhythmic bracketing.García. 120 . frequently changing extreme dynamics. Extended techniques are used in both parts and include lip bends. S. Complex meter changes. key clicks. chance pitch and rhythmic elements. the title is a poetic reference to the keen and focused listening state that one often experiences after a rainfall. A meter is not specified. Instructions for techniques are given in Spanish.” Guinjoan. and rasgueado and harmonics in the guitar. Munich: Ricordi.

and harmonics in the guitar part. Rhythmic challenge in this one-movement work includes meter changes.. Madrid: Arte Tripharia. harmonics. 18/16 to 12/16. The flute and guitar parts are of equivalent difficulty in this one-movement work. Fingerings are supplied for the flute quarter-tones. and rasgueado in the guitar part. Rufo. the flute pitch range extends the entire range of the instrument and includes many large leaps and pyrotechnics. Heiniö. 1981. Hegaard. Lars. crosswise vibrato./1979=Sieniä hermeneutiikan tapaan: A Divertimento for Flute and Guitar. This five-movement work contains a variety of textures. and singing and playing for both players. Both parts contain many extended techniques. Baguala por atahualpa for Flute and Guitar. Hämeenlinna: Jasemusiikki. 5 Moments of Day for Flute is a rhythmically complex five-movement work. 1977/78. large leaps. arpeggio over all the strings above the tuning head. harmonics. and complicated rhythms. key clicks. harmonics. percussive techniques. Some of the extended techniques used include flutter tonguing and pitch bends in the flute part. Extended techniques used include glissandi and bends in the flute part and harmonics in the guitar part. tongue pizzicato. and flutter tonguing in the flute part. glissandi. Performers will encounter rhythmic challenge and difficult traditional technique. The flute and guitar play equally important roles in this rhythmically advanced work written by Japanese composer Etsuko Hori. difficult rhythms. and multiphonics in the flute part. and plucking. 36. Additionally. Tokyo: Zen-On Music Co. Hekster. Quejío (Plant) for Flute and Guitar. Ltd. and glissandi. WA: Brazilian Music Enterprises. frequent dynamic changes. 1985. 1994. and numerous complex meter changes are included in this five-movement work. harmonics. Extended techniques are used in both parts and include flutter tonguing. and frequent meter changes exist in both parts. and graphic notation. It uses frequent grace notes. Walter. whistle tones. several extended techniques. Behind. Extended techniques used include whistle tones and flutter tonguing for the flutist. Champignons à l'herméneutique. rasgueado in the guitar part. Challenging non-scalar runs. 5 Moments of Day for Flute (Alto Flute) and Guitar.. eg. smorzato. Mikko. Copenhagen: The Society for the Publication of Danish Music. The flutist plays alto flute at times. numerous extended techniques. and tamboura. 121 . Carles. Herrera. and golpe. ornaments. complex rhythms. 2002. and pizzicato and harmonics in the guitar part. This edition is a copy of a handwritten score and calls for contra alto flute. 2004. and extended techniques in both parts. Amsterdam: Donemus. flutter tonguing. complex meter changes. and change frequently as do the dynamics. and harmonics in the flute part. stretching the string in a given rhythm. Extended techniques include glissandi. Rhythmically the piece includes sections without a specified meter and sections structured upon meter changes. quarter tones.Guinovart. lip pizzicato. and scratching the strings for the guitar. Lopez. Several extended techniques. Meters used are difficult. Hikari no mai for Flute and Guitar. Hori. quarter tones. Etsuko. left hand only. Extended techniques include multiphonics. whispering into the instrument.

singing and playing. According to the composer. Josef. and melodic material. 1997. pizzicato. tongue pizzicato.Houghton. Tango der Schatten for Flute and Guitar. 1997). [Brunswick. Some of the extended techniques include key clicks and flutter tonguing in the flute part and the use of the flesh of the finger. and the use of extended techniques. key clicks. percussion. To do this he uses numerous instances of graphic notation and extended techniques. and sections of three-against-four. and quarter tones are required of the flutist while tapping. 2010. The piece is rhythmically complex and contains sections that do not contain a meter. The guitar part is not accompanimental and is very difficult. Phillip Houghton. 1993. The flute additionally includes the range of a-6 to d-7.n. Laura. From the Dreaming was inspired by the composer’s seven-month visit to Australia’s outback in 1986. rhythms.134 Both parts involve difficult technique. Cornelius. September 15. He indicates a flute with a B foot is preferred. 2004. and other Eastern percussion instruments. Textures vary throughout. Tangoesque für Flöte und Gitarre. Jens. and dynamics. glissandi. rather than providing a supporting rhythm. Schweinfurt: Vogt and Fritz. S. Breath noise. In Shades of Pastel. flutter tonguing. syncopation. Berlin: Edition Margaux. Both parts also contain extremely demanding meters. 1990. From the Dreaming for Flute and Guitar. The rhythm of the guitar part often responds to. harmonics. 1. 135 Laura Kaminsky. Rhythmic complexity includes triplets. German composer Cornelius Hummel uses extended techniques in both parts of this onemovement work. challenging rhythms and demanding technique in both parts. New York: Daniel Kessner. sitar. Hummel. Victoria]: Moonstone Music Publications. and fingernail glissandi. block chords. Tango der Schatten is an unmetered one-movement work that contains extended techniques. e-mail message from the composer. 134 122 . challenging rhythms. Daniel Kessner tries to imitate the sounds of the Japanese shakuhachi. ([Brunswick. Daniel. and bottleneck glissandi in the guitar part. 2006. Victoria. Phillip. Detailed instructions are given throughout by the composer..135 Kessner. harmonics. or interrupts the flute. Several extended techniques are used in both parts of this four-movement work. It Comes and It Goes for Flute and Guitar 1990. Some of these techniques include flutter tonguing and glissandi in the flute part. Kaminsky. the programmatic title refers to the fact that the material “comes and goes” as the duo engages in its dialogue. and harmonics in the guitar. thirty-second notes. and ponticello are required of the guitarist. tamboura.]: Moonstone Music Publications. koto. Shades of Pastel for Alto Flute and Prepared Guitar. From the Dreaming for Flute and Guitar. Edited by Duo Arabal. The guitar texture is a combination of arpeggios. glissandi.l: s.

2010.”136 The piece utilizes numerous extended techniques and difficult rhythms. but varies among block chords. bass-recorder and guitar but can also be played on c-flute and bass flute. The flutist plays passages that are not scalar but instead contain random leaps. Musica da camera (1972) for Recorder (Treble-Recorder and Bass Recorder) and Guitar. numerous meter changes. Hans-Martin. and many accidentals.Landeghem. September 12. and harmonics in the guitar part. The recorder is required to play numerous extended techniques. Frequent extended techniques. “The title 'Trois Fantaisies' was a compromise in my mind: I thought 'Fantaisiestücke' to be more appropriate. and ornamentation in both parts. The guitar part is both chordal and melodic. Rhythms are complicated and sections of graphic notation and frequent meter changes feature in both parts. tamboura. e-mail message from the composer. 136 Noël Lee. glissandi. arpeggios or melody. Son Sonora for Flute and Guitar. 1996. New York and Hamburg: Peermusic Classical. fandango. The texture is mostly homophonic however both the flute and guitar do have cadenza-like solo passages. This edition is a copy of a handwritten score and is difficult to read. Paris: Gérard Billaudot. Trois fantaisies pour flûte et guitarre. Trois fantaisies was commissioned by Ivan and Eric Bellocq in 1992. difficult rhythms. Noël. León. These three Spanish dances comprise the farandole. Linde. but 'Pièces en fantaisie' or 'Fantasy Pieces' didn't seem serious enough! An important influence came from a cycle for soprano. and challenging large leaps and fast runs are included in both parts of this four-movement work. 123 . The sections of the piece scored for bass recorder are written in bass clef. Lee. Extended techniques used include quarter tones. According to the composer. and key clicks for flute and percussive tapping. quarter tones. 1995. Mainz: Schott. Tania. intervals. Antwerpen: Digital Music Print. and guitar I had composed in 1955 which I heard subsequently rather often. The texture is somewhat pointillistic. The texture is varied with both instruments presented as equal partners. Rhythmic complexity used includes shifting meter changes and syncopated and dotted rhythms. flute. the influence coming from the sounds I heard and how they might be activated in other directions. 1974. flutter tonguing. The writing is highly rhythmic and includes virtuosic technical passages. 2007. The recorder part has a range of f-2 to c-7. Tres danzas festivas. This four-movement work was originally intended for treble-recorder. Jan van. and folia. The guitar part is difficult and outlines a chordal texture with block chords and arpeggios punctuated by some melody and scale passages. extended techniques.

1988. 68 für Flöte und Gitarre (1994). The composition has descriptive subheadings e. dynamics. faraon kaupunki is characterized by challenging rhythms and meters. and slapping the finger-board. percussive techniques. numerous extended techniques. Herbert. "An Elegy for Osiris etc. Specific rhythmic challenge includes shifting and difficult meters and sections of two-against-three. timbral trills. Some extended techniques are used in both parts. 137 138 Herbert Lindholm. and extended techniques are supplied with an English translation. tongue pizzicato. there are exceptionally many sound effects. controlled improvisational sections and a demand for special techniques. Precise dynamic indications are given and these indications change frequently. 2010. 139 Janice Misurell-Mitchell. 2010. and ponticello. 1988). flutter tonguing.139 Both parts require several extended techniques which include key clicks with and without tone. exaggerated vibrato. dotted. On Thin Ice. David. 2. Frequent extended techniques. Frank. On Thin Ice. cross-part counter-rhythms. harmonics. This edition is a copy of a handwritten score. cadenzas. Nocturnal Op.Lindholm. The source for Thebe's motives lie in the novel "Sinuhe the Egyptian" by Mika Waltari. e-mail message from the composer. Also included are odd meters that shift frequently. such as harmonics in the flute part. the piece is “strongly influenced by Arabian music and its structure is rhapsodic. e-mail message from the composer. and finger tremolo in the guitar. fuzzy tone created by placing the tongue partially in the way of the airstream. The flute part is written for alto flute and utilizes key clicks. faraon kaupunki. Evensong for Flute-Alto Flute and Guitar. 124 . Janice. Compared to the rest of my works. "The Valley of the Kings". On Thin Ice is derived from a series of improvisations by guitarist Paul Hinrichs. drawing on both Western and Eastern (Chinese) influences. David Macbride. and mumbling while the guitar part utilizes pitch bends.138 Arrows are given to indicate where the flute and guitar should attack notes together and other symbols are used to indicate the length of notes in seconds. (Hollywood. David Macbride.g. and triplet rhythms. In the introduction to the piece. Instructions for all coloristic details. the composer explains that it uses a tone row and a scale with a pentatonic/octatonic character. Frankfurt: Musikverlag Zimmerman. "The Temple of Ammon". lyrical soliloquy and it reflects his Eurasian heritage. September 12. Hollywood: Judy Green Music. According to David Macbride the title of Evensong reflects the fact that the piece is a quiet. According to the composer. CA: Judy Green Music. and extreme dynamics are present in both parts of this one-movement work. 1991. multiphonics. September 12.”137 Macbride. as well as sections of graphic notation. harmonics. 1986. Dynamics change quickly and drastically in both parts. Theba. 1998. Theba. Helsinki: Suomalaisen Musiikin Tiedotuskeskus. Michael. Misurell-Mitchell. and glissandi in the flute part and a slide that is used to create glissandi and percussive sounds in the guitar part. syncopation. singing and playing. complex rhythms.

Rhythmic difficulty includes odd groupings of notes. quick non-scalar runs. No specific meter is included in the beginning of the piece. Paris: Alphonese Leduc. and harmonics are required from the flutist. 2007. Both the flute and guitar parts of this one-movement work include recurring extended techniques and demanding traditional episodes. meter changes. thirty-second note rhythms. Non-scalar. Nørgård also makes this statement about the piece: “The melodies grow out of the changing accents in a series of dynamic developed four tone patterns. Mating Dance.g. Atanas. Ourkouzounov.” (per the composer’s instructions). Per. Leipzig: Deutscher Verlag für Musik. 1999. masculine part and the guitar undertakes the calm. 4 légendes.Neubert. 2010.dk/default. and tamboura from the guitar. frequent syncopation. harmonics. http://en. and meter changes. Key clicks. Günter. Edited by Erling Moldrup. Nagaré pour flûte et guitare. Goccia-capriccio per flauto e chittarra. accessed 17 September. This one-movement work contains complex. pitch bends. large leaps. 140 125 . and Aeolian sounds from the flute. flutter tonguing. freely-treated rhythms. and harmonics. available from. Mating Dance is based on Nørgård’s solo guitar piece Returns and the title refers to a love play in which the flute represents the active. Copenhagen: Edition Wilhelm Hansen AS.: 37/16 and 61/16).ewh. Ryo. Both parts exhibit complex rhythms. trills. color changes. numerous extended techniques. The flute part uses a range of c-4 to the “highest note possible. Noda. and complex meters (e. single-lined running material appears in the guitar part. and percussive tapping. and ponticello and harmonics from the guitarist. The guitar part requires harmonics. Some of the more difficult include: singing and playing. Work Information. feminine role. whistle tones. Multiple extended techniques are used in both parts of this one-movement work.”140 The flute part requires doubling on alto flute. glissandi. Rhythmic complexity includes the absence of a specific meter. know as the Fibonacci series). key clicks. and non-scalar double tongued and slurred runs in the flute. flutter tonguing. Per Nørgård. 1982. 1977. Nørgård. and rugged non-scalar technique. and fluid high register technique.aspx?TabId=2448&State_2953=2&workId_2953=21670. Saint-Nicolas Quebec: Doberman-Yppan. Mating Dance for Flute and Guitar. and durational and spatial durational notation. and the swinging and swaying rhythms are often based on the Golden Section (near to the relations 2:3:5:8:13 et cetera. The guitar part uses a variety of extended techniques and is difficult to synchronize with the flute part. a range of b-3 to e-7. Ornamentation that complicates the rhythm is also included in the flute part. Internet. multiphonics.

Numerous challenging extended techniques inform both parts of this three-movement work. pitch bends. Karlsruhe: Tre Media Musikverlage. Stable/Mouvants. and rasgueado.clicks. Quebec: Les Productions D’OZ 2000 Inc. Éric. Frequent meter changes between 5/8 and 7/8 create rhythmic challenge. 2000. indications. harmonics. Pénicaud. challenging rhythms. 3 for Flute and Guitar. Atanas. key slaps. These last include key slaps. and cadenza sections also appear. air whistles. speaking and playing. and challenging technique are incorporated in both parts of this one-movement work. 2002. Graphic notation as well as non-metered sections. Walsrode. The guitarist is instructed to tune the 6th string to b-flat. and percussive techniques. glissandi. harmonics. and ponticello. Sonatine pour flûte et guitare. Ourkouzounov. 3 contains frequent meter changes and multiple extended techniques. 2004. pulling with thumb. These include voice. bisbigliando. is notated on its own staff. and glissandi in the guitar. Poetry is included to be read silently by the musicians before playing each movement. diaphonia III. Parrado. key. Both the flutist and guitarist employ frequent and extensive extended techniques and challenging rhythms in this piece. voice.. Partite variate nr. and glissandi for the guitar. Numerous extended techniques. and glissandi for the flute. Germany: Edition Daminus. matched with percussive techniques. Both the flute and guitar play a variety of extended techniques that include specific vibrato indications. hollow tone. key slaps. and “son éolian” sounds in the flute part. The flute plays a cadenza and covers a range extending to e-7. Partite variate nr. tamboura. air sounds. key clicks. 2003. and wind sounds in the flute part. The voice is used in both parts and. Both parts contain sprechstimme and are printed over two staves. Saint-Romuald. Extended techniques include flutter tonguing. Sweeden: Edition Suecia. Atanas. and singing and playing in the flute part. 126 . Stockholm. harmonics. multiphonics. Kjell. This two-movement work contains a mixture of textures. Cantus linnaei. and harmonics for the guitarist. Extended techniques include harmonics.Ourkouzounov. coloration. Several instances of unison figures between the two parts occur. singing and playing. air indications. Canada: Les Productions D’OZ 2000. when it is used. Javier. Instructions are not provided for the extended techniques. and pizzicato in the guitar. Rhythms are challenging and include both non-metered and metered sections that use meter changes. Instructions for the extended techniques are provided in French. flutter tonguing. Salto al alba para flauta y guitarra. scraping along the string. one for the instrument and one for the instrumentalist’s voice. Perder. harmonics. 2008.

The flute part uses the full range of the instrument and includes short solo/cadenza sections. and thirty-second notes. pizzicato-effect. Hollywood: Alpheus Music Corp. and air tremolo in the flute part. glissandi. flutter tonguing. syncopation. two. 2003. accidentals. Harmonics. and five contain simpler. frequent complex meter changes. Numbers one. Bartok-pizzicato. Paris: Editions Henry Lemoine. left-handed pizzicato. and the use of ties. Rhythm is extremely demanding in both parts. and glissandi in the guitar part. and using a bow in the guitar part. Prudencio. Extended techniques used include harmonics and flutter tonguing in the flute part. The guitar parts are mostly accompanimental. Duo for Flute and Guitar. key clicks. extended techniques. Instructions for the extended techniques are in French only. 2003.. Dynamics change repeatedly and are extreme. Rhythmic difficulty in both parts of all five pieces includes meter changes. and fast and difficult technical passages. Armand. Some of the extended techniques used include flutter tonguing. and harmonics. 127 . and difficult non-scalar runs. Extended techniques include flutter tonguing. and frequently changing dynamics all appear in this one-movement work. Štěpán. and a cadenza of the guitarist in Vértices. and microtones. elaborate melodic turns-of-phrase. Detailed instructions are given in English for the extended techniques. 2005. Rhythmic challenge is faced by both performers due to the lack of a meter. syncopation. quarter-tones. Complex rhythms. producing chords with various items. and percussive techniques and speaking for the guitar.. slap-tongue. Numbers three and four contain extended techniques in both parts as well as graphic notation. Vértices para flauta baja y guitarra.Pinto. cadenza-like sections. This formidably difficult. Temps et couleurs I für Flöte und Gitarre. The flute part extends to b-3 and features frequent large leaps. and quarter tones are required of the flutist. frequent and difficult meter changes. grace notes. Both parts also contain frequent large leaps. and singing and playing on the part of the flutist. These five short works vary in texture and difficulty. 1995. pizzicato-effect. Saint-Romuald Canada: Les Productions D’OZ 2000 Inc. Cergio. rasgueado. The flute and guitar part both include frequent extended techniques. Gianluca. Quell. Michael. The score is a facsimile. 1970’s. and the thirty-second notes. Qualliotine. Karlsruhe: Tre Media Musikverlage. L’histoire du rock. Each of the three movements of this work represents a different style of rock music. more traditional writing. difficult rhythms. one-movement work requires the flutist and guitarist to use the entire range of pitches available to each instrument and perform extensive extended techniques repeatedly. however there are many other instructions given throughout the score in German only Rak. tongue-ram. Giordano Bruno 5 tableaux pour flûte et guitare. ties. Darmstadt: Tonos Musikverlags GmbH. and harmonics.

and harmonics in the flute part and glissandi. Airolets. flutter tonguing. Thierry.Rechberger. Rodríguez. large leaps. Difficult rhythms in both parts include: frequent syncopation. Extended techniques used include quarter tones. 1992. fast nonscalar runs. alternate fingerings used to produce tone colors. Airolets. non-scalar running notes. Québec: Productions d'Oz. 141 Thierry Rougier. whistled sounds in the flute part. pitch bends. Eyktime for Recorder (or Flute) and Guitar. 2005. Extended techniques are also used frequently and include key clicks in the flute part and harmonics. This is a copy of a handwritten score. The flute part of this one-movement work uses piccolo and includes a cadenza. melodic and accompanimental phrases. Eyktime is a highly rhythmic and technically virtuosic work. Québec: Productions d'Oz. Fuzeau. 2001. Meter changes are frequent and are sometimes complex (ex. tongue slaps. and retuning of strings in the guitar part. and thirty-second and sixtyfourth note figures. and percussive techniques in the guitar part. 128 . George. Challenging rhythms and melodic embroidery are included in both parts of this onemovement work. Rossé. Uhcatoa. (Saint-Romuald. The guitar lines feature challenging single-lined. The composer describes the suite as a set of of modal Occitan songs from the region of Toulouse that depict incongruous animals and birds. Herman. triangolo. Courlay: J. Barcelona: Clivis Publications. Music of Fire for Flute and Guitar. The flute and guitar version calls for contralto flute and the recorder version uses several different recorders.141 Textures vary and extended techniques are used frequently. 2001). 3. Rhythms are taxing and dynamics change frequently. Jardí a giverny. dedillo. and the use of a pick. Additionally the guitarist plays rasgueado and harmonics.. Rougier. Both parts also contain some virtuosic technical passages. PA: Theodore Presser Co. Inc. 1995.M. Rochberg. and crossing strings. Espoo. and flutter tonguing. Other extended techniques are included and are explained in French. François. many accidentals. and grace notes. harmonics. harmonics. Airolets is a suite comprising seven movements. Jesús Picó. Finland: Fazer Music. Saint-Romuald. 3+3+2/16) in this one-movement work. Bryn Mawr. one for flute and guitar and one for recorder and guitar. 1991. extreme air pressure.. rasgueado in the guitar part. Some of the more difficult techniques include vocal techniques for both instruments. Two versions are included. dúo concertant. ornamentation.

Strizich. Music für Flöte und Gitarre. and challenging traditional passagework. however tick marks and dotted lines are used to indicate measures and beats. The guitar part includes extensive use of harmonics. arpeggiation. Schlünz. and fast nonscalar runs. Bühl/Baden: Antes Edition. Edited by Frank Nagel. A seven-movement work. Robert. frequent syncopation. 129 . difficult rhythmic outlines. Lepo. Rolf. Complicated rhythms and frequent meter changes are included in both parts of this singlemovement work. Suter. The flute part contains quick technique. Baltimore: Sonic Art Editions. and frequent complex meter changes. Sumera. large leaps. Berlin: Bote and Bock. graphic notation. Rhythmically the piece is un-metered. Stuart. harmonics.Rudin. 1994. Zürich: Edition Eulenberg. Kammermusic für Flöte und Gitarre. 2003. and other coloristic effects. The compass the flute extends is from b-3 to c#-7. Smith. Landscapes for Flute and Guitar. Both parts of this difficult piece negotiate frequently changing complicated meters. and tremolos while the guitar part contains grace notes. 14 (1989). block chords. and melodic material. arpeggios. natural and artificial. Many extended techniques. No meter is specified in either part. revised 2002). Asleep in Thorns for Flute and Guitar (1995. Extended techniques are used in the guitar part. The guitar and flute play equally important roles in this four-movement work. für Flöte und Gitarre. Both parts explore various extended techniques. 1994. Landscapes contains rhythmic complexity. and extended techniques. The guitar part is written on two staves with no explanatory instructions. grace notes. Taubanblaue Schatten Haben Sich vermischt. Berkeley: Fallen Leaf Press. This single movement work contains instances where the pitch and rhythm are notated using graphic notation. and large leaps challenge the flutist. The guitar part contains repetitive material mixed with short bursts of melody and ad lib runs. and frequent dynamic indications in both parts. large leaps. frequently changing dynamics. 1979. The texture is polyphonic and coordination of the parts is difficult. Berlin: Bote & Bock. Much of the rhythm and pitch in both parts is notated using graphic notation. synchronization between the two parts is difficult.B. Robert. und Seinen Freund: Version 1. 1990. 1995. Ensemble is a significant challenge. Since this piece is rhythmically complex. Perle für Flöte und Gitarre Op. Für B. The flute part includes flutter tonguing and frequent fermatas. Annette. large leaps. and frequent and extreme dynamic changes are included in both the flute and guitar parts. challenging rhythms.B. The flute part contains many leaps.

and key clicks in the flute part. and places where graphic notation is used for both pitch and rhythm. rasgueado. and instances of graphic notation. and harmonics and retuning of strings in the guitar part. matched by tremolo. vibrato instructions. accessed 17 September. Vasquez.answers.Takemitsu. Instructions for the guitarist and for the extended techniques are written in Italian. multiphonics. Both players tackle extended techniques. harmonics. Switzerland: Editions Bim. Edmundo. harmonics. Techniques used include harmonics and flutter tonguing in the flute part. which spell the English word “sea” in German notation (Es. 1999. Extended techniques include flutter tonguing. 1982. Dynamics are specific and change frequently. Large leaps. Rhythms are demanding in both parts and include thirty-second notes and sixty-fourth notes. and hitting the embouchure hole with the palm of your hand in the flute part. and slides in the guitar. Ornamentation is used in both parts and sometimes includes controlled trills. E. 130 . 1982. Dynamics change frequently and rhythms are sophisticated for both performers of this fivemovement largely polyphonic work for flute and electric guitar. Suite per flauto e chitarra amplificata. Tientos I pour flûte et guitare. A. and whistle tones in the flute part. Fritz. “Que no Haya Salida” für Alt-Flöte und Gitarre. Toward the Sea for Alto Flute and Guitar. flutter tonguing. Paris: Editions Salabert.” available from. complex rhythms. Bartok pizzicato. Vuarmarend. percussive techniques. this three-movement work for alto flute and guitar was composed as a contribution to the "Save the Whales" campaign of Greenpeace. percussive techniques. The guitar part is as involved as the flute part. glissandi.142 Extended techniques are used to mimic the sound of a shakuhachi and a koto and include nontraditional fingerings used to produce a hollow sound. Fabio. tamboura. glissandi. and harmonics in the guitar. for Alto Flute and Guitar. Vacchi. glissandi. 1973. A). Tokyo: Schott. The first and second movements are written without a meter and the third movement’s meter is 3/16. Voegelin. non-scalar technique and grace notes are included. harmonics. glissandi. Extended techniques include flutter tonguing. harmonics. Rhythmic challenge in both parts includes the absence of a meter. double dotting. Toru. http://www. and harmonics. timbral trills. ties. Based on the motive E flat. Ancona: Edizioni Bèrben. Dynamics change frequently and are sometimes extreme. A mixed outline that favors the polyphonic texture appears in this work. dotted rhythms. Both parts also contain challenging rhythms in the absence of meter. 142 Rovi Joseph Stevenson. and difficult non-scalar runs. Successive transcriptions exist for harp and marimba. “Toward the Sea I. and glissandi. Internet.com/topic/toward-the-sea-i-for-alto-flute-guitar. 2010. E natural. and slides for the guitar. triplets.

The guitar part contains melodic elaboration. Both parts incorporate demanding rhythms. 2000.F. http://www. These last consist of tongue pizzicato. Oxford Music Online. and some rhythmic and pitch elements notated in graphic notation. harmonics. tamboura. Mao. percussive techniques. This edition is a copy of a handwritten score. and harmonics in the guitar part. Guitar part arranged by Christian Reichert. 1976. glissandi. 131 . Christoph Maria. glissandi. Both performers navigate frequent and difficult meter changes. and tongue-rams in the flute part. key clicks. The flute part utilizes the full range of the instrument. "Wolff. The textures are varied and both instruments are of equal importance and share equal difficulty. and shaking the body of the instrument. and ponticello in the guitar. solo sections. and rasgueado in the guitar part.com/subscriber/article/grove/music/30499. Internet. multiphonics. Christian Wolff. Tokyo: Casa de la Guitarra. 143 William Bland and David Patterson. Zoom für Flöte mit Guitarre.Wagner. mute. flutter tonguing. 1993. pulling on the strings. tone color indications." Extended techniques include quarter tones. glissandi. breathy sounds. 2006.oxfordmusiconline. Bartok pizzicato. harmonics. slap tongue. pitch bends. Christian. The composer includes very detailed instructions throughout as well as performance notes such as "remain paralyzed during rests. sul tasto. sliding the hand or fingers back and forth on the strings. ornamentation. and challenging rhythms. Bartok pizzicato." In Grove Music Online. KI and Two Ritsu for Flute and Guitar. solo sections. glissandi. toneless noise. Challenging traditional technique including runs that accelerate and decelerate is also called for. and singing and playing as well as muffled sound. exhaling and inhaling through the flute. a French-born American composer is known for writing works that encourage performers to contribute creatively in his music by allowing them to improvise. microtones. Frankfurt: Zimmermann. syncopation. and react to each other. ponticello. Flutist and Guitarist. Yamagishi. and flutter tongued harmonics for the flute. harmonics. available from. Peters. Wolff. flutter tonguing. glissandi. and challenging running technique. Rhythmic difficulty in both parts includes meter changes. Wennäkoski. changing mouth positions (ooh to eeh). Finland: Modus Musiikki Oy. triplets. The pair of movements here explore a variety of textures with polyphonic used most frequently. Culla d’alba per flauto e chitarra. and challenging non-scalar runs. harmonics. Extended techniques are used in both parts and include vibrato indications. accessed 17 September. rubbing the body of the instrument. Kokkola. and percussive techniques. 2010. frequently changing dynamics and a wide range of extended techniques. Guitar part edited by Aamun Keinu. pizzicato.143 Flutist and Guitarist has a flute part that contains large leaps. Lotta. thirty-second notes. percussive techniques. New York: C. This is a work for very advanced players. re-tuning. The rhythm is very challenging in both parts and includes graphic notation of pitch and rhythmic elements and non-metered sections. sul ponticello. rasgueado. Zoom is a one-movement work that appears in the form of graphic notation and explores frequent and difficult extended techniques. KI and Two Ritsu is a collection of three short works. Christian. tambora.

Padova: Armelin Musica. Beethoven. Fantasy for Flute and Guitar. Mythical Journeys. Zwei Themen mit Variationen für Violine (Querflöte) und Gitarre.. Bach. Ludwig van. 2002. 2001. 1986. Wien: Hermann Schneider Musikverlags.J. Schweiz: Gitarrenmusikverlag. Frankfurt: Zimmermann. IL: Ferreri Publications. Arnold.. Albéniz. Bach. Allan. 1. 232. The Very Best for Flute and Guitar.n.. 1993.: s. Paris: Gérard Billaudot. Bernd. Hannacroix. Cantigas & Dances for Flute & Guitar. 1996." Op. 1995. 2): pour flûte et guitare. Malcolm. Pastorale for Flute & Guitar. 1994. Buckingham. 1976. N. Del gran zoo: para flauta y guitarra. Johann Sebastian. Partita in Re Minor. Bellafronte. IL: Ferreri Publications. 1988. N. Beethoven. Park Ridge.APPENDIX 1 INACCESSIBLE WORKS LISTED IN WORLD-CAT Ahlert. Johann Sebastian. 1987. 2008. Roma: Rai Trade. Héctor. BWV 525: [flûte et guitare=Flute and Guitar]. Präludium BWV 999 für Flöte/Violine (Violoncello) und Gitarre. Barnett. S. Bachianita: 6 Duos für 2 Gitarren oder Flöte und Gitarre. Amoré. n. Vol.l. Alexander. Bach. Angulo. Johann Sebastian. Madrid: Union Musical Espanola. Sonatine über finnische Volkslieder: für Flöte (Melodie-Instrument) und Gitarre. Raffaele. Andes. Baumann. 132 . BWV 997. Sonatine. Daniel. Córdoba from "Songs of Spain. Saint Romuald: D'Oz. Douglas M. Herbert. Minueto: en sol mayor: para flauta dulce y guitarra. Ancient Airs. Latin American Evergreens. Bach Chorales. Sonate en trio. S. 1990. Miroirs:(No.].n. Buckinghamshire MK:Buckingham Queen's Temple Publ. Ludwig van. Bach. Johann Sebastian. Isaac.. Co. 1970. La Habana: Editora Musical de Cuba. Carol. Johann Sebastian. 1987. 1995. Park Ridge. Bach. 1991. Ball. Ludwig van. Lawndale: ADG Productions. Marc.: Loux Music Pub.l.Y. Siciliano. [Glassboro.: s.d. Beethoven. 1970’s. Hamburg: Peer. The Way of My Senses: per flauto e chitarra. Lausen. 2002. Bühl: Antes Edition.

Beau soir. IL: Ferreri Publications. Zürich: Hug Musikverlage. In Chains for Alto Flute and Guitar. Daquin. 2002. 1989. Milano: Zerboni. N. 1995. Dances for Flute and Guitar. Park Ridge. Praha: Talacko Editions. Colin. Corby: Fentone. Joe. Sylvie. Braga. Die Sphäre der Poesie=The Sphere of Poetry: für Flöte und Gitarre/for Flute and Guitar. Debussy. Co. Broadstock. Chris..l. Only Fairy Tales for Flute and Guitar. G. Le coucou. Tre affetti musicali. Dausend. Cree Brown. 1975. S. Gardens of the Villa Taranto for Flute and Guitar. Theme and Variations for Flute and Guitar. G. Mainz: Schott.. Kenley. Brumby.: s. Claude. 1.S. Evanston. Hannacroix. Corby: Fentone. Wilhelmshaven: Heinrichshofen.: Australian Music Centre. 1989. S.Bettinelli. Divisions on an Italian Ground: for Flute and Guitar. IL: Ferreri Publications. 2005. 1970. Ferdinando. Brenton. Op. Wellington. Piece for Flute and Guitar. William.n.n.S. Bracanin. Grosvenor Place. Suite in Spanish Style: 1986 for Alto Recorder/Flute and Guitar. Three Pieces for Flute and Guitar.Z.W. 2005. Bodorová. S.109. 1970. Charlton.]. Peter.: s. S. 1995. 1983.Y. 1990. Brumby. Joseph..M. Dausend. Byrnes.: Australian Music Centre.n. Bland. Burton.W.l.n. 1976. Blady. 133 .. Chen-chün. S. N. Luiz Otávio.n. Billam. Grosvenor Place.: Loux Music Pub. Timeless Classics: for Flute and Guitar.: Centre for New Zealand Music. More Timeless Classics: for Flute and Guitar. Impressões e sonho: para flauta e violão. [Australia: s. Catalano. For one or Two. S. 1995. Bruno & Ruggero Chiesa. N. Stephen Douglas.l.. Colin. Two Duos. Serenade für Flöte (Violine) und Gitarre. Park Ridge.l. Castle. 1999. Chèn.l. 2000’s. Garrett. Philip.n. Surrey: Maecenas Music. Musica a due: per flauto e chitarra. 1970. N. Carulli. Richard. 1984.: Quiet Cat Music. Sonata for Flute and Guitar.M. 1990.: s. Louis Claude. No. 2005.: s. Burkhard.. 1992. IL: Bruyere Music Publishers.: s.l. Between Friends. 1994.

Claude.. Dropsie.: Reproduced and distributed by Australian Music Centre. Golliwogg's Cake-Walk. 2003. A Peace for All Children. Dumigan. Demeyer. Prelude VIII:--la fille aux cheveux de lin. 1981. 1990. 2002.S. Falla. Fitzgerald. Paris: Editions Salabert. 1974. N.W. Jeremy. Dolorosa: for Flute and Guitar. IL: Ferreri Publications. Erni.S. 2004.W. NY: MMO Music Group. Sea Suite for Flute and Guitar. Ferraris. IL: Ferreri Publications. Québec: Productions d'Oz 2000. Jon. Drake.: s. Claude. N. Debussy. Grosvenor Place. Park Ridge. Friedhelm.n. Park Ridge. York [England]: Guitar in Ensemble. Vol. Spanish Sonatina for Flute and Guitar. 1. Sonata. IL: Ferreri. Grosvenor Place. IL: Ferreri Publications. Fitzgerald. Claude. 1995. Demaine. 1977. Twelve Country Dances. Houston: Ascolta. 1995. Milano: Carisch. Manuel de.S." Park Ridge." Park Ridge. Claude. Celle: Moeck. Jon. S. N.Debussy.: Reproduced and distributed by Australian Music Centre. 1991. Publications. Charles. Saint-Romuald.S. Edward. IL: Ferreri Publications. DiPalma. 1995.W. Flauta y guitarra. Dumigan. G. S. 134 . 2003. Antwerpen.W. 1995. 2002. Grosvenor Place. 1995. Fischman. Duets for Flute & Guitar. "The Three Cornered Hat. Döhl. 1995.l. Melodie: pour flûte & guitare. Musiche per flauto dolce e liuto. Hanspeter. Park Ridge.n. Debussy. IL: Ferreri Publications. Park Ridge. 1995. Debussy. Clair de lune. Jon. Reverie.l. Partita. Flowers. 1996. Adriaan. Dance of the Corregidor: from the Ballet and Orchestral Suite. Flamenco Variations for Bassoon (Flute) and Guitar. York: Andresier Editions. Rajmil. Mark.: Reproduced and distributed by Australian Music Centre. Fitzgerald. Two songs of Palamidi: für Flöte und Gitarre. Elmsford.. N. Chanson du feu follet: from "El Amor brujo. 1988. 1991.: s. Falla. Grosvenor Place. 2004. Robert. Manuel de. Duo Concerto. Popular Sonatina for Flute and Guitar. Fitzgerald.: Reproduced and distributed by Australian Music Centre. 1987. Chris. Sonata for Flute and Guitar. Québec: Productions d'Oz 2000. Chris. Belgium: Scherzando. Jon. Saint-Romuald.

Aubade: for Treble Recorder or Flute and Guitar.n. 2006. Earl. Willy. Georg Friedrich. Paris: G. Saint-Romuald.l. Gellman. Amanda. Gemrot. Ave Maria:für Gesang oder Melodieinstrument und Gitarre. Charles. Sonata notturna: für Querflöte und Gitarre. 1985. Saint-Romuald. Québec: Productions d'Oz 2000. Frescobaldi. Gardner. B.: Sewickley Press. Karlsruhe: Edition49. Ada. 2002. Viktor. chitarra e orchestra. Musikanten-Tanzbuch (1797). Claude. 1991. Gagnon. 135 .: s. Gieco. Mainz. escritas en estilo antiguo'). Billaudot. K. 1983. Powell. Gauthier. 1984. Enzo. NSW: Australian Music Centre. Hand. Jirí. 1975. Maine: Sea Gnomes Music. Sapporiana suita pro flétnu a kytaru=Suite for Flute and Guitar. Walter. 1992. Freiburg-Tiengen: Schulz. 2008. Jason. Cloud Eight for Flute and Guitar. Colin. 1937. Granados. 1992.: s. Schott's Söhne. 1989. Northampton: Hampton Music. New York: Schott. Stonnington. Concertante per flauto. Girolamo. Giefer. Milano: Ricordi. Canzona II. Emmanuel Tanka. Steven. S. 2006. Fortin. La charmeuse de serpents. Grosvenor Place. Vancouver: CWJEF Music Publications. Gounod.l. Bad Schwalbach: Edition Gravis. Götze. (Kay).: S.n. Petite suite de danses. FourTtondillas: (Selected from the 'Colección de tondillas. Jamesville. Gounod.. Charles. Greenbaum. Four Preludes for Flute & Guitar. Québec: Productions d'Oz 2000. Northampton: Hampton Music. S. 1997. Handel. 1979. 2000. Paris: Editions Musicales Hortensia. F. Sonatina for Flute and Guitar.Fonta. 2001. S. Jean-Luc. 2005. Touching Souls: Alto Flute & Guitar. Ballade. 1970. Vidalita: pour guitare et flute ou clarinette. The Bambara Sonnet: Contemporary Composition for Guitar and Flute. Robe de bal. Stuart. Enrique. Haney. OH: Clear Note Publications.. Cinque Saggi musicale. N. Ave Maria.Y. 1994. Gellman. Stanhope: Modrana. George. Golightly. Handel.l. Balade. Gentile. Praha: Ared. 1989. Goarounds & Grounds a Mandala Work for Flute & Guitar. 1979. D.

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VITA Graduate College University of Nevada. Brackley Frayer. Committee Member.A.A. D. Stephen Caplan.M. M. Jennifer Grim.M. 2001 Southeast Missouri State University Master of Music.A. Cheryl Taranto. Ph. 152 . Committee Member. D.M. Janis McKay. Las Vegas Kristi Benedick Degrees: Bachelor of Music Education. 2004 Illinois State University Doctoral Document Title: An Annotated Guide to Flute and Guitar Music Doctoral Document Examination Committee: Chair Person. Committee Member.F. Graduate Faculty Representative.A. D. D.

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