If the recent National Flute Association Convention is a reliable indicator of large-scale trends, then interest in flute choirs of all levels is expanding rapidly.  Flute ensembles figured prominently in daily concerts, sales of piccolos and harmony flutes were more brisk than usual, and music for flute choirs was readily available.  Supporting this growing attention to flute ensembles, such resource tools as Carol Kniebusch Noe's A Guidebook to Flute Choir Literature (Kendall/Hunt, $23.95), Amy Rice-Young's Flute Choir Warm-Up Book (ALRY, $5.00), and Adah Toland Mosello's Flute Choir Method Book (ALRY, $14.00) address the more practical aspects of selecting appropriate literature and building ensemble skills of flute choir members.  Many band directors and private flute teachers have caught the flute choir bug; as a result, I receive frequent calls regarding literature suitable for performance by their groups.  While these teachers represent a wide variety of performers, abilities, and budgets, they share a common question:  What can I play if I have no access to alto or bass flutes?

Lack of access to the larger flutes is not an uncommon situation for many flute choirs.  With prices of entry-level alto flutes starting at $1500, bass flutes from $3500, and performance opportunities less for large flutes than for other members of the flute family, it is not surprising that individuals or schools opt to purchase the less expensive and more often played piccolo.  Although the bass flute, which sounds an octave lower than the C flute, and the alto flute in G are important additions to the sonority of the flute, they are not absolute necessities for effective concert performance.  (The remaining members of the flute family, the Eb soprano {$1000+} and contrabass {$5000+}, should be the last instruments added to the flute choir as they are least often requested in performance.)

There is no doubt that all flute choirs would aspire to own two alto and two bass flutes with which to extend the flute sound downward, but in the meantime ensembles simply wishing to perform musically satisfying and challenging works without the large flutes need not flounder.  Indeed, composers have responded to this need for "bass-less" choices, and they have written or arranged many pieces with various combinations of piccolo, C flute, and on occasion, non-flute instruments.  I offer to you in the ensuing paragraphs eight such choices, all of which are scored for a minimum of six players and are suitable for high school and college players.

Naturally the simplest -- though not always the most sonically pleasing-combination is six C flutes, and such is the requirement to perform Samuel Adler's Madrigals (10:00, Southern, $17.50).  As the title suggests, the three movements of Madrigals are related by compositional technique to their sixteenth century vocal counterparts, and they feature much imitation and overlap of melodic entries.  At times Madrigals suffers from having too many of the same voice sounding in the same register, but careful rehearsal will alleviate these balance problems.  Flutes 5 and 6 are asked to play low B, and the range of part 1 extends to A3.  Movement one, based on a seventeenth century German part song, features two distinct melodic ideas that chase one another, save for two chords in the middle and at the end.  Movement two, an arrangement based on the Japanese folk song "Sakura," uses the pentatonic scale to create haunting tone clusters that can pose intonation difficulties. Marked "quietly moving," this treatment of the popular Japanese tune asks all but flute 6 to play the melody, fragments of which are passed among the ensemble.  While this movement is excellent for building listening and blending skills, the final movement demands attention to crisp articulation and steady rhythm.  Based on an Israeli folk song entitled "Olive Trees" the tune rocks between a minor and A major, finally settling for a triumphant major chord to close.  A rhythmic and melodic ostinato pattern unifies this movement, and cadence evasion continues the vigorous activity until a final unison statement of the main motive draws Madrigals to a close.

Another perennial favorite of my flute choir is Spanish Love Song (5:00, ALRY, $11.00).  The arranger, Ann Cameron Pearce, aptly describes the nature of the piece:

Spanish Love Song presents a hauntingly beautiful melody that begins with the pure sound of the solo flute, progresses to the simplistic duet with the alto, and continues to build in each section to a full passionate flute choir sound.  It has just enough dissonance in the middle section to give it somewhat of a yearning nature, but with all the phrases resolving to traditional harmonies, the piece still produces a mood of tenderness.

This simple tune in d minor encourages attention to phrasing, as well as to clean entrances and releases.  The inner voices are given interesting parts that move occasionally, thereby requiring the players to accompany according to the nuances of the melodic line.  Spanish Love Song is arranged for 5 C flutes and one alto, although alternate parts for C flute or bass are provided in the absence of an alto flute.  It can be played by 6 flutes or by a choir; solo and tutti passages are clearly marked.

Over twenty-five years ago composer Peter Schickele, otherwise known as P.D.Q. Bach, became interested in writing pieces for a multiple number of a single kind of instrument, and the resulting series was called "Monochrome," a term meaning one color.  Monochrome I (5:00, Elkan-Vogel, $11.00) was written for eight C flutes, with parts 2, 3, and 4 doubling on piccolo in the middle section to extend the flute voice upwards.  Difficult technically and rhythmically, the piece explores, according to Schickele, "a variety of harmonic, rhythmic, melodic, and timbral textures."  The opening and closing sections make great use of large tone clusters and pyramid chords, which are in turn interrupted by short motives in unison. In the middle section "moderately fast" (which at the given tempo of quarter=132 seems too fast), rhythmic independence is crucial as tricky melodic entries dovetail one another quite intricately.  The range extends from low C to C#4.

A more traditional compositional technique serves as the basis for Joshua Missal's Rondo Caprice (5:00, Southern Music Co., $15.00).  The form, roughly equivalent to ABACAB'A, features the lively A theme twice in each occurrence.  The B theme is highly chromatic, the C theme is slower, sultry and bluesy, and the D theme has rapid passage work with quartal harmonies.  The B section leads to a short cadenza for flute 1 before concluding with a shortened rendition of the A theme.  Rondo Caprice is scored for 6 C flutes, with an optional alto part in lieu of flute 6.  All parts are technically challenging and occasionally rhythmically difficult.  Ultimately the piece is in the key of F major, but heavy chromaticism obfuscates the key and adds to the often-dissonant sound.

Graham Powning composed his Four Moods of Pan (10:00, ALRY, $14.00) to reflect four emotional states:  melancholy, flippancy, pensiveness, and revelry.  The short distinct movements are well-crafted and musically challenging as performers must be sensitive to changes of color, texture, and dynamics.  Unison rhythms predominate, and extreme precision is necessary to align all six parts in the two fast movements.  Four Moods of Pan calls for one piccolo, four C flutes, and one alto part with an optional C flute part. Intonation can be problematic due to the close harmonies and the pairing of piccolo and alto flute.  On the page the music appears simpler than it actually is: performers must play with a great deal of sensitivity and accuracy in order to fulfill the wishes of the composer.

Those wishing to experiment with a more contemporary idiom would be advised to discover Richard Hobson?s Antiphonal Music (8:00, Southern Music Company, $10.00).  Written in 1977 for the Cincinnati College-Conservatory Flute Ensemble, Antiphonal Music introduces students to harmonics, pitch bends, extreme dynamics, glissandi on the overtone series, and changes in vibrato.  Perhaps the most effective technique overall is the spatial one, as the nine performing flutists are divided into three groups of three players and spaced ten feet apart in an open triangle.  The conductor then stands fifteen feet or more in front of the choirs.  The effect, especially in a large and resonant hall, is spectacular, particularly when performed with the original instrumentation of three C flutes/piccolo in choir 1, three C flutes in choir 2, and three alto flutes in choir 3. No doubt aware that not all groups have three alto flutes, the composer offers three alternate C flute parts for the alto parts in choir 3 and attempts not to disrupt the effects created by registral difference.  It is customary for alto flute parts to be transposed for the player; that is, the printed pitch will be the note that is fingered as on a C flute and not the pitch that is sounded.  Conductors should make a note that the actual alto flute pitches are printed in the score but not on the parts.

Nancy Nourse, arranger of Bizet?s La Garde Montante, did her homework when preparing this transcription for flute choir. Intended for eight players, the work calls for one piccolo, six C flutes (flute 2 doubles on piccolo), and an eighth part for C flute, alto, or bass.  Nourse has altered the eighth part to be successful no matter which flute is chosen, although it must be said that the alto (or bass) adds a dimension lacking when the C flute is used.  La Garde Montante (8:00, ALRY, $22.00) is transcribed exactly from parts of the orchestral Carmen Suite No. 2, and the main themes included from the opera are the trumpet fanfare, the ?Chorus of the Street Boys,? and the ?Overture.?  Those who have played Bizet?s music before know that it calls for much ornamentation in the form of grace notes and trills, rapidly articulated scale passages, and jaunty accompanimental parts; this transcription bears similar musical material.  The final sixteen bars will require extra attention as the running sextuplets must overlap exactly as they pass among the flutes.

One enjoyable transcription that includes non-flute instruments is Marche Miniature from Tchaikovsky?s Orchestral Suite in D Major, op. 43 (6:00, ALRY, $16.00).  Arranger Tom Kennedy dedicated the work to Walfrid Kujala, recently retired piccoloist of the Chicago Symphony Orchestra.  Not surprisingly, the piece features a solo piccolo, accompanied by 6 flutes (parts 1 and 3 double piccolo), triangle, and celeste (optional piano).  Instead of focusing on the lower spectrum of flute sounds, Kennedy unabashedly moves the sound of the flute group to the highest register, a move that is especially interesting to the ear when the celeste is used.  Though the celeste and triangle are optional, they have small but effective roles to play in this version.  The solo piccolo must deliver a lovely legato melody, a contrasting staccato melody, and a rapid obbligato section, and the other musicians are responsible for a light staccato articulation and great rhythmic precision in the accompaniment patterns. In bars 78 and 79 accidentals are omitted in the score for the lower flutes.  The delicate higher pitches and unusual sound combinations make Marche Miniature a pleasing experience for the audience.

The list provided above is by no means an exhaustive one.  Many other works, both arrangements and original compositions, are available for performance by groups lacking alto or bass flutes, and new selections are added to the repertoire every year.  Thus, while all flute choirs are encouraged to obtain all members of the flute family, they should not delay giving concerts until such a magical day arrives.  Including non-flute instruments, arranging lower parts for other voices, and assigning parts with great attention to balance will offer your choir abundant choices when selecting repertoire.