Written in easy-to-read short chapters, 6 WEEKS TO FINALS is a clearly organized system for flutists to prepare and train musically and mentally for auditions. Sharon Sparrow, a flutist in the Detroit Symphony, has taken countless auditions herself, understands the rigors of preparation and the state of mind necessary for success. This textbook guides flutists through the all-important process behind a successful audition.
ALIEN LOOP DE LOOPS for flute & electronic recording by Howard Buss is a fantasy that appeals to a wide range of audiences. Buss envisioned a flutist playing during an air show by an alien craft. At first the flute is unaccompanied, but then is joined by the recording that includes traditional instruments, an "alien" voice, the spacecraft, and electronic effects. CD included. Grade 5. Duration 6'47"
Composed for Italian flutist Elena Cecconi. Its picturesque Italian subtitle, Riflessi sul lago alpino, translates as “Alpine Lake Reflections” and it celebrates the awakening of Spring in the region south of the Italy's Dolomite Mountains. As one listens to this music it is easy to imagine the glistening reflections of the dramatic Dolomite peaks and vibrant green spring foliage in the lake. For flute and harp. Grade 5-6. Duration 11'30".
For 3 flutes. (An alto flute part is included as an alternative to the third flute) This work showcases both the agility and the beautiful, sonorous tone of the instruments. The two movements are At the Glow of Dawn (3’5”) and Ocean Blue (3’50”). Aquarius explores a variety of sonic atmospheres and moods. The sophisticated musical language coupled with soaring melodies and intriguing rhythms makes this trio an accessible concert work as well as an impressive contest piece. Grade 5. Duration 7'.
For 4 flutes. This sensitive rendition of one of Mozart’s most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. Grade 2-3. Duration 3'30".
For 4 flutes, CANZONA by Florentio Maschera (1540-1584) transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style and makes a memorable feature number for a recital as well as a wonderful musical offering in church. Grade 3. Duration 2'30".
Dedicated to flutist/piccoloist John Bailey. Chutzpah! is an audacious “tour de force” with exciting contrasts, zesty rhythms, and passages featuring elaborate and dashing technical prowess. "A great concert feature, contest piece, and is an excellent choice for an audition." Piccolo and Piano. Grade 6. Duration 5'40".
For flute, clarinet, alto sax, and tenor sax. Consists of 3 movements inspired by views of objects in the Milky Way galaxy. The titles of the first 2 movements, The Backbone of Night and The Pale Blue Dot are taken from the writings of the renowned astrophysicist, Carl Sagan. In his book, Cosmos, he describes how the !Kung Bushman in Botswana refer to the Milky Way as “the backbone of night.” The spine of the Milky Way often appears directly over the Kalahari Desert. The !Kung believe it to be the structural foundation of the heavens and that one of its functions in relation to Earth, among many, is that it holds up the darkness. In his book, The Pale Blue Dot, Sagan poetically describes a haunting view of Earth from a distant point in our galaxy. He puts our worldly concerns into cosmic perspective when he refers to all that has ever happened to human beings as occurring “on a mote of dust suspended in a sunbeam.” The final movement, Orbitals, suggests celestial bodies revolving around one another in a fascinating cosmic dance. Moons orbiting planets, planets around suns, suns around other suns culminate in the swirling wonder of our galaxy. Grade 6. Duration 18'10".
An colorful engaging work that evokes a fantasy world in which a dragon awakens and takes flight. Looking for a work that can showcase your technical prowess and musicality to dazzle an audience? This is it! Grade 6. Duration 6'20".
Composed for Amy Porter. This dramatic, colorful composition is cast in 2 interconnected movements. The first begins with a mysterious monologue by the flutist and is characterized by brilliant arabesque passages contrasted with subtle shadings of tone through the use of delicate dynamic nuances, tremolos, and flutter tonguing. As the piano enters, the ambience of the music shifts to one of nostalgic lyricism. The exciting second movement is moody, turbulent, and features a dance-like section hugely influenced by jazz and Latin music. Fantasie culminates in a rousing finale with the return of the Latin-infused dance.