Remembering the Master: Flute & Piano Parts

Dobbins creates a genuine bridge between Bach's architectural rigor and the spontaneity of jazz phrasing, giving flutists permission to explore improvisation within a carefully composed framework. The written solos remove the intimidation factor for players unfamiliar with improvising, yet the articulation and phrasing marks embedded in the notation preserve the improvisatory character that makes this music come alive.

Contemplative and introspective, with the harmonic depth of Bach's keyboard writing supporting the flute's meditative voice. There's a quiet reverence here, a sense of looking back at the master's language through a modern improvisational lens, creating moments of both intimacy and grandeur.

Flutists preparing for competitions or festivals who want substantial, musically rich solo material with professional arrangement and recorded credibility. This is also ideal for players exploring improvisation for the first time but needing the security of written alternatives.

• Study the written articulation and phrasing marks closely; they signal the conversational, singing quality expected even in the notated passages.
• Let the piano part breathe and space out harmonically; this is chamber music, not accompaniment. Listen as much as you lead.
• If you choose to improvise in performance, use the written solos as a melodic and harmonic roadmap rather than a strict boundary.
• Shape the longer lines with the kind of vocal legato Bach's singers would have used, resisting the temptation to separate each measure.

Pair this with other Bach-inspired works or classical solo arrangements to create a recital segment exploring historical references in contemporary composition. It also stands alone effectively as a contest piece or festival entry that commands attention through sophistication rather than virtuosic display.

• Reading and interpreting articulation marks idiomatic to jazz and improvisational styles
• Phrasing longer melodic lines with vocal legato and shape
• Exploring improvisation within a composed harmonic framework
• Balancing as a soloist with an attentive collaborator at the keyboard
• Interpreting music that blends Baroque harmonic language with contemporary performance practice