Classic Festival Solos (C Flute), Volume 2 Piano Acc. Cover Image

Classic Festival Solos (C Flute), Volume 2 Piano Acc.: Piano Acc. Book

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Classic Festival Solos (C Flute), Volume 2 Piano Acc. Cover Image

Classic Festival Solos (C Flute), Volume 2 Piano Acc.: Piano Acc. Book

Item: 00-EL03870

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Description
Classic Festival Solos, Volume II continues to afford the advancing student the opportunity to find performance materials graded from easy to more challenging, including exposure to a variety of musical styles. Many of these works appear on state contest lists. Contains: Adagio (Mozart, arr. Lentz) * Aries (Lewallen) * Canto Lyric (Bolz) * Elf Interludes (Haan) * Hungarian Dance No. 6 (Brahms, arr. Steenland) * Intermezzo (Mascagni, arr. Guenther) * Offenbach Ballet (arr. Steenland) * Parade (Billingsly, arr. Hahn) * Poeme Petite (Lewallen) * Taurus (Lewallen) * Waltz (Tchaikovsky, arr. Guenther).

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Additional Details
Series: Classic Festival Solos
Publisher: Alfred Music
Page Count: 40
ISBN10: 0-7692-5589-2
ISBN13: 978-0-7692-5589-7
UPC: 029156076509
SKU: 00-EL03870
Instrumentation: Piano Acc.

More about this title

Why we love this

This collection spans contest staples and concert favorites in a single book, letting you build a season's worth of solo repertoire without hunting through separate publications. The mix of classical arrangements (Mozart, Brahms, Tchaikovsky) alongside original works by Lewallen and Bolz gives students genuine stylistic range within reach. Piano accompaniments are included, so you can support performances in rehearsal or adjudication without needing a separate collaborative pianist resource.

What to expect

A journey from lyrical introspection (the Adagio and Canto Lyric) through character pieces and dance rhythms, landing on moments of virtuosic shimmer without demanding pyrotechnic technique. Each work respects the flute's natural warmth while opening ears to how the same instrument speaks across centuries and compositional voices.

Who it's for

Advancing flute students preparing contest solos, recital programs, or comprehensive solo experience across multiple styles. This book works equally well for private studio teachers building student repertoire and band or orchestra directors scouting material for soloists.

How to get the most out of it

  • Study the accompaniment part carefully before the first full rehearsal; understanding where the piano breathes and how it frames your entrances transforms the musicianship of the piece.
  • Record yourself playing against the piano accompaniment early in preparation, then listen back to identify rhythmic or intonation issues that are easier to spot from the audience perspective.
  • Mark dynamic shapes that connect across phrases rather than treating each measure as isolated; the piano voice often suggests longer musical lines than flute players initially hear.

How to use it

Select contrasting pieces from this collection to build a student recital or youth concerto showcase without breaking focus across different books. The contest-list credentials make several of these natural choices for students entering adjudicated events; coupling them with rehearsal time alongside ensemble work builds confidence efficiently.

Skills your students will build

  • Stylistic differentiation across baroque, romantic, and contemporary idioms
  • Lyrical phrasing and breath management in slower movements
  • Rhythmic precision in dances and character pieces
  • Coordination with a collaborative pianist and listening through an ensemble texture
  • Interpretation of articulation and dynamic contrast in arranged classical works

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