Flute Friction is a series of flute duets in three books aimed at flautists from grade 1 to 8. 15 Flute duets. 10 Flute Trios. In this first book in the series, ten flute trios are also included, which teachers will find particularly profitable when working with small groups, although the main emphasis in this series is on the interaction between two players similar in standard. In many cases each part is given equal importance, so it is the ease with which players can shift from pole position to a more supporting role and back again that poses the principle challenge. Elsewhere, the spoils are slightly less equitably carved up, and again teachers will quickly gauge for themselves which pieces best suit the abilities and personalities of their students. If teachers can get their students to learn both parts in each piece, then in a sense the books immediately double in value! I like to think of these pieces as being useful from a number of viewpoints and would suggest using them in a variety of ways, not exclusively as light relief at the end of lessons. Duets are an excellent way of improving sight-reading, to be sure, as well as building confidence and assertiveness. But at least as importantly they nurture that most underestimated of skills, listening, without which musical accomplishment is doomed to certain failure. If the teacher is limited in pianistic ability, then duets offer a much needed chance for students to play in a small ensemble setting, which is the first stage to being able to 'hold a line' in a wind band or orchestra. Above all perhaps, the sheer joy of being part of a 'winning team' can hardly be overestimated; played well, a duet is greater than the sum of its parts and may well have the potential to please in a concert setting. The business of matching intonation is of course especially important in duets, and similarly, taking breaths in suitable places is critical to the way an audience understands the overall musical texture. Balance, and dynamic involvement generally, can quickly be seen as being critical to how the music springs from the page, while articulation in all its guises is absolutely key to creating a engaging musical effect. Gauging tempo, and particularly changes in tempo, becomes a process of negotiation in duet playing, and a happy outcome will require an awareness of the other player's technical challenges as well as artistic ideas. These are short pieces, not unduly encumbered by structural cleverness, and as such they lend themselves easily to achieving fairly immediate rewards. Come back to them a few months later, and this time expect a little more from the performances. My gratitude, as ever, goes to Gillian Poznansky for road-testing the pieces and ensuring the scores make good musical sense. Mark Tanner, 2012

5 pieces from Verdi's La Traviata, expertly arranged by Roe Goodman: a highly experienced bassoonist and currently professor of mathematics at Rutgers University, New Jersey. Scored for 2 clarinets and bassoon, with the option to substitute the bassoon with a bass clarinet. Full score and 4 parts included.

Encore! is both the perfect encore to round off any Clarinet recital or can be played as a stand alone show-piece. Also particularly suitable for festivals and competitions. The writing is very melodic and flamboyant and the work is a sure audience pleaser. Commissioned by Nigel Hinson. Difficulty: Grade 8

Times For Flying by Sadie Harrison, Published 2000. Commissioned by Colin Lawson and Ian Mitchell. First performance: Goldsmiths College, May 2000. Recorded on Clarinet Classics CC0032. 9'; for 2 clarinets

Entrata is concert piece for flute and piano by Geoff Warren. With its modern jazz tinged harmonies and shifting rhythms, this is a great way to introduce some jazz stylings to the concert platform. Rhythmically complex, and reaching up to top B, one for the more advanced players. There is also the optino to use the included chord sequence to improvise over the middle section, of there is a written out solo for the less adventurous!

Flute Quartet - Piccolo, Flute, Alto Flute, Bass Flute. This Quartet provides a chance for smaller groups to experience the fantastic music of Vincenzo Sorrentino. Featuring all his trademarks - exciting syncopations, flowing overlapping melodies in all parts and modern harmonies. A great encore opiece for a more advanced quartet.

Flute Ensemble - Piccolo, optional G Treble, 4 flutes, Alto flute, Bass flute, optional Contr'alto flute, optional Contrabass flute, optional subcontrabass flute in C. Phillip Rawle's Suite No.2 is in four movements: Cantilena - smooth and flowing pitting 3/4 time against a 6/8 feel. Patetico - richly chromatic, with expansive solos for both bass and alto flutes. Piacevole - a fanfare like beginning leading to a slow and tranquil piece alternating between G major and G minor. Scherzando - a playful movement, sounding almost like a nursery rhyme in places leading to a rousing finish. Equal interest in all parts, about Grade 4/5 standard upwards.

Flute Quartet - 3 flutes and Alto flute A new flute quartet from the pen of Geoff Warren. This piece explores the rhythmic possibilities of the 9/8 time signature, switching between groups of 3+2+2+2, 3+3+3 and 2+2+2+3

Flute Quartet - 3 flutes and Alto flute. Eastern Fjords is an atmospheric quartet, this piece conjures up images of frozen landscapes and towering glaciers. Flute 1 and alto flute play melodically in octaves through a lot of this piece, with the harmonies being completed by the inner parts. Both flute 2 and 3 get melodic interest as the piece progresses. Exploring the lower range of the flute (flute 3 uses a few low Bs) and rhythmically less complex than his other works, this is an easier way in to the music of this interesting composer.

Flute Quartet - 3 flutes and Alto Flute. Toppling Leaves is in a modern jazz style. A chorale-like introduction using modern harmonies leads into solo-like sections where flute 1 has a free line over ostinati in the lower three parts, interspersed with short interjections in rhythmic unison. There then follow sections where the top three parts build up to a climactic finish. Wandering through many keys (including Ab major), and using some complex rhythmic patterns, this is a treat for a more advanced quartet.

Duettino by Lynne Williams for Flute and Alto Saxophone Duet

Mirror is a one movement piece for oboe and piano from the pen of Vincenzo Sorrentino that makes the most of the crisp articulation of the instrument. Syncopated rhythms and modern harmonies add spice to this piece. Requiring nimble fingerwork (particularly in the demisemiquaver passages) and some stamina (142 bars long with few rests), this is a piece for the more able player that would make a great addition to the concert platform.

Solo Bass Saxophone. Also composed at the World Sax Congress, Rumblings features the baritone's big brother! A melodic legato section opens the work. This leads into a small riff that develops into a full blown funk pattern that explodes into a longer phrased solo section. The riff then fades away into a modified recap of the opening section that fades away. A chance for one of the rarer saxophones to get some exposure!!

Solo Baritone Saxophone. Composed at the World Saxophone Congress 2012, Musings brings the baritone to the front of the stage. Each of the three sections shows a different side of the instrument - the first is cheeky, the second is a legato melodic section, and the finale is a highland romp! Using the full range of the instrument from top F down to bottom A, this is a piece for the baritone specialist!

Solo Flute, flute, alto flute, bass flute The first of Mozart's flute quartets, arranged with flutes taking the string parts. Once again, the flute part has been left unchanged meaning no extra learning for players who already know this piece. In three movements; an initial allegro, a slow lyrical middle movement allowing the soloist to sing out, and a final romp of a Rondo. A good chance for new players to get to know this fabulous piece of music.

Mask is full blooded concert piece for flute and piano by Vincenzo Sorrentino. The piano part ripples away while the flute soars and flies over the top. With fast, complex rhythms and wide-ranging rich harmonies, this piece shimmers like a jewel in the sun. Reaching the dizzy heights of top C, this is one for the serious player.

Soprano Saxophone and Piano. Another exciting piece from this prolific Italian composer.

Thirty saxophone studies aimed at the Grade 1-3 player using ranges and keys from the early grades.

Flute Ensemble - Piccolo, 4 flutes, Alto flute, Bass flute. Settimeno is a slightly smaller scale flute choir piece by Vincenzo Sorrentino. In his trademark style, multiple ostinati in the lower parts support long flowing tunes in the upper parts, often with modal harmonies. Later on, the syncopations start to appear adding excitement and drive. Finishing with a flourish, a great piece for a smaller ensemble.

Flute Ensemble - Piccolo, 6 flutes, 2 Alto flutes, Bass flute. Fluten II is a companion piece to Fluten, using the same instrumental line up. A fast, syncopated rhythm drives this piece along, appearing in almost every bar. Around this pedal rhythm, two other themes wind and merge, this time based around a triplet pattern. A couple of big climaxes and then the piece fades away to nothing. Again, this piece is already well established on the concert platform.

Flute Ensemble - Piccolo, 6 flutes, 2 Alto flutes, Bass flute. Fluten is a large scale flute choir piece by Vincenzo Sorrentino. A slow introduction leads into a the main, faster section. With it's ostinati and overlapping entries of the main theme this almost has an oriental feeling in places. Later on, overlapping entries of the main theme in increasingly fast rhythms give an impression of church bells pealing out. Using a wide range of keys but not excessively difficult, players from grade 4 upwards should be able to approach this piece succesfully.

Saxophone Quartet – AATT. Written for two alto saxes and two tenor saxes, this is simpler in style that Phil's other quartets. Played to a driving beat with interest in all parts, some simpler syncopation adds rhythmic interest. Still using his rich chromatic harmonies, but using more standard phrasing and sequences, this would be suitable for players of about grade 4 upwards. Ideal for a slightly more advanced group class.

A suite of 4 character pieces for alto flute and piano. Each movement lives up to it's title: 'Flight' explores the full range of the instrument with nimble fingers required for the many semiquaver runs. 'Plaintive' is mournful and melancholic, whilst 'Edgewise' explores the rhythmic possibilities of a 5/4 time signature. The last movement ' Radiance' has an improvisatory feel to it. All with the characteristic lush harmonies that are winning Phil more and more fans all the time. A great addition to the alto flute concert repertoire.

Saxophone Choir/Ensemble - 12-15 part. Optional Soprillo, Sopranino, 2 Soprano, 3 Alto, 3 Tenor, 2 Baritone, Bass, optional Contrabass, optional Subcontrabass. A complete, unabridged arrangement of Dvorak's Serenade for Strings Op.22. In five movements, the first four are generally straightforward in form, exploring just one or two themes. The first is melodic and soaring, the second is an elegant waltz, the third is a blistering scherzo, while the fourth is a tranquil and wistful slow movement. The finale is more complex, starting out as a Bohemian peasant dance full off off-beat accents. Two other themes are developed in the course of the movement before a recap of the opening theme of the very first movement leads into a frenetic coda section. All parts take their share of the melodic interest right through this arrangement, which requires careful work to bring out the artistic shading in the work. A great addition to any concert situation.