2 Flutes (T-Z)

Christmas Flute Basics by Paul Harris is a collection of fun and festive flute repertoire. Leap through the 12 days of Christmas in 12 stages, including Christmas-themed improvisations, warm-ups, and studies. Play your favorite Christmas tunes with piano accompaniment or as duets for 2 flutes. Each stage wraps together musical and technical elements to help focus your festive playing.

Young players who are just starting to read music can find it very difficult to follow a duet or trio. This book by editor Karen North solves the problem with color coded music, making it easy for beginners to follow their ensemble part. Students only need to know 4 or 5 notes to start playing the first duets in this book, which covers Beginner and Preliminary levels. 

The music spans a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, and there are warm up exercises, each focusing on one aspect of ensemble technique. 

The arrangements work well with anything from two players up to a large flute choir/ensemble. Many pieces offer maximum flexibility as they can be played as a trio; OR the blue and red parts are harmonically complete to be played as a duet; OR there are also optional piano parts for some pieces, to be found in Book 3 (accompaniments). 

There are free recordings of all the duets and trios on The Young Flute Player YouTube channel. These videos can be adjusted to any speed, so are great for students to practice their part at home. This ensemble book can be used either independently, or in conjunction with the tutor/method books in The Young Flute Player series.

This book of Duets and Trios (Grade 1 - Grade 3 level), by editor Karen North, makes it easy for students to follow their ensemble part by using color coded clefs/key signatures. 

The music covers a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, plus there are warm up exercises, each focusing on one aspect of ensemble technique. 

The arrangements work well with anything from two players up to a large flute choir/ensemble. Many pieces offer maximum flexibility as they can be played as a trio; OR the blue and red parts are harmonically complete to be played as a duet; OR there are also optional piano parts for some pieces, to be found in Book 3 (accompaniments). 

There are free recordings of all the duets and trios on The Young Flute Player YouTube channel. These videos can be adjusted to any speed, so are great for students to practice their part at home. This ensemble book can be used either independently, or in conjunction with the tutor/method books in The Young Flute Player series.

These six arias from Gioacchino Rossini's beloved opera 'The Barber of Seville' were first arranged for two bassoons in the 1820's by French bassoonist François-René Gebauer. During this time, Gebauer was performing with the Paris Opera. He arranged two volumes of these arias, and flutist Jeffrey Beyer has chosen to transpose, adapt and arrange the following selections for C Flute and Alto Flute duet: Ecco, ridente in cielo, Largo al factotum, Una voce poco fa, Dunque io son, Zitti zitti, piano piano, and Di si felice innesto.

Masque II

Takemitsu, T

The second Incidental from Masque. For the first part including Continu and Incidental, search product code EAS17122

Flute Frictions is a series of flute duets in three books aimed at flautists from grade 1 to 8.

In this first book in the series with fifteen duos, ten flute trios are also included, which teachers will find particularly profitable when working with small groups. These are short pieces, not unduly encumbered by structural cleverness, and as such they lend themselves easily to achieving fairly immediate rewards.

Flute Frictions is a series of flute duets in three books aimed at flautists from grade 1 to 8.

This second book, with 13 charming flute duets, begins to advance, with some slightly tricky rhythms and flourishes designed to take the beginner to the next level.

Flute Frictions is a series of flute duets in three books aimed at flautists from grade 1 to 8.

This final book of fiendish flute duets will spice up your lessons and practice sessions. The music bristles with energy- jazzy rhythms, quirky harmonies and catchy melodies leap from every page.

Wonderful Winds presents Six Tchaikovsky Duets for two flutes by Ilyich Tchaikovsky, arranged by Alfie Pugh.

Contents include: 

• Dance of the Sugarplum Fairy (The Nutcracker)
• Puss In Boots & The White Cat (Sleeping Beauty)
• Waltz (Swan Lake)
• Dance of the Reed Pipes (The Nutcracker)
• Dance of the Cygnets (Swan Lake)
• Russian Dance (The Nutcracker)

Flute Duets from The Nutcracker

Tchaikovsky, PI

Flute Duets from the Nutcracker are delightful arrangements from Tchaikovsky's famous ballet. They were especially arranged for easy, intermediate students, but there are some challenging spots for advanced players. These duets include the Chinese Dance, March, Arab Dance, Dance of the Sugar Plum Fairy, and Dance of the Reed Flutes and would be perfect for December studio recitals.

Following the Carnival of the Animals and the Moldau, Jennifer Seubel has now set her sights on the Nutcracker Suite by Pyotr Ilyich Tchaikovsky, and has arranged it for two flutes. This wonderful suite brimming with popular and much-loved melodies has been made available for two melody instruments in all its diversity and in its entirety.

As in the original work, enchanting melodies alternate with concise rhythms, whereby the reduced instrumentation succeeds in preserving the original flair of the work. The two flute parts are of equal importance, the melody and accompaniment constantly interchanging. These arrangements are for advanced flautists and offer many a small challenge.

Telemann's Six Sonatas for two flutes (or two violins) without bass, Op. 2, are justly popular among flutists; they avoid awkward technical passages in favor of sound and modulation, while at the same time embracing multiple styles and forms. Here, in two books, they are presented and edited by Paul Edmund-Davies, with suggested dynamic and phrasing direction. Each book also comes with a CD that contains full performances of the duets by Edmund-Davies, as well as full single-part tracks so that the flutist can play along with Edmund-Davies.

Telemann's Six Sonatas for two flutes (or two violins) without bass, Op. 2, are justly popular among flutists; they avoid awkward technical passages in favor of sound and modulation, while at the same time embracing multiple styles and forms. Here, in two books, they are presented and edited by Paul Edmund-Davies, with suggested dynamic and phrasing direction. Each book also comes with a CD that contains full performances of the duets by Edmund-Davies, as well as full single-part tracks so that the flutist can play along with Edmund-Davies.

Georg Philipp Telemann's Six Sonatas for two flutes of 1726, also known as Flute Duets Op. 2, are dedicated to two young music lovers and, thus, appeal explicitly to a circle of pupils and music lovers. The pieces foster the ability of musical interpretation as well as a playful love of music-making and are thus ideal for music lessons. The sonatas can alternatively be performed on the violin. The new edition of the Wiener Urtext Edition is based on Telemann's original print as well as on two earlier editions which grant insight into the contemporary ornamentation practice. Further suggestions for the performance are given in the Notes on interpretation by Susanne Schrage. The layout of the new edition is clearly designed, page-turns within individual movements have been avoided thanks to fold-out pages. Thus, the proper foundation has been laid both for a historically informed performance and for relaxed musicmaking.

Schott's collection of Georg Philipp Telemann's '6 Sonatas op. 2' were written for 2 treble recorders, or 2 flutes and are published in performance score format.

'A German composer of the Baroque era, Telemann, showed considerable musical talent as a child, learning the violin, flute, recorder, zither, and keyboard, and composing an opera at the age of twelve. He composed a vast amount of music, both sacred and secular, including 1,043 church sonatas and 46 settings of the Passion one for each year he was in Hamburg. His music was an essential link between music of the late Baroque and early Classical styles.'

- Simona Seres, 2014

Schott's edition of George Philipp Telemann's '6 Sonaten im Kanon [Canonic Sonatas] op. 5 for 2 flutes is presented in performance score format.

'A German composer of the Baroque era, Telemann, showed considerable musical talent as a child, learning the violin, flute, recorder, zither, and keyboard, and composing an opera at the age of twelve. He composed a vast amount of music, both sacred and secular, including 1,043 church sonatas and 46 settings of the Passion one for each year he was in Hamburg. His music was an essential link between music of the late Baroque and early Classical styles.'

- Simona Seres, 2014

Georg Philipp Telemann’s (1681—1767) Gulliver Suite, was composed only two years after the first publication of Jonathan Swift’s Gulliver’s Travels in 1726. In the suite, Telemann embraces Swift’s satire by emulating the characters in a variety of musical ways. The five movements are: Intrada, Lilliputian Chaconne, Brobdingnagian Gigue, Reverie of the Laputans and their attendant flappers, and the Loure of the well-mannered Houyhnhnms/Wild Dance of the untamed Yahoos.

This edition includes parts transposed for G flutes, meaning that any combination of flutes can be used - the Lilliputians could be piccolos, the Brobdingnagians a pair of contra flutes - or perhaps the opposite.

Though recovered as part of the long lost Sing-Akademie Berlin archives in 1999, these sonatas were first examined in 2002. Knowledge of their existence, or at least their presumed existence, is due to their partial use by Johann Joachim Quantz in his solfeggi for the flute. The sonatas, possibly composed sometime after 1730, are presented here by Barenreiter Urtext in a performing score format.

As with Telemann s other flute music, the Nine Sonatas are equally suited for performance and instruction. The expressive melodic qualities of these sonatas combined with their modest technical requirements will make these sonatas classics in both lessons and the concert hall.

Sechs Sonaten [Six Sonatas] op. 2 TWV 40:101-106 - Volume I

Telemann, GP

Within his prodigious output the extent and significance of which cannot yet be fully ascertained Georg Philipp Telemann (1681 1767) cultivated to a considerable degree the genre of chamber music without continuo. To this genre belong pieces for flute or violin which are intended for one, two, or four instruments.

The Six Sonatas without Bass for two flutes or two violins, op. 2 (1727), presented here by Barenreiter Urtext, exhibit a strict cyclic organization, in terms both of tonality and of form. They are all in four movements and are based on the same formal pattern. In the slow movements, expansive baroque thematic material is intertwined with more charming galant features. The fast movements are usually cast in an imitative, fugal style, or, with their capricious rhythms and delicate figuration, they approach suite-like models. The cycle displays fascinating characteristics in its musical substance and development, its treatment of sonority, and in its compositional craftsmanship.