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Playing Flute in Church

compiled by editors | February 2017

    With the rise of entrepreneurship in the flute world, many flutists have augmented their incomes performing in church services. These four flutists share their stories of the joys and challenges of being a church musician.

Charlene Romano

    Charlene Romano is a freelance flutist in Virginia. She and her clarinetist husband John Romano perform as DuoRomano. In 2012 she performed the world premiere of Gregory Wanamaker’s des ondes et les temps for solo flute. She has recorded on the Cantilena label, has served on the faculties of Shenandoah Conservatory and Solano College, maintains an active private studio, and is a pedagogical author. She also writes about the challenges of balancing a music career, studio teaching, and family on her blog, The Domestic Flautist. She holds a Masters of Music from San Francisco State University, where she studied with Linda Lukas, and a Bachelor of Music in Performance, Magna Cum Laude, from Shenandoah Conservatory, where she studied with Frances Averitt.

    As a freelance musician, I am often contracted by a music director, organist or contractor to provide music for church services. This may include performing as a soloist or with a larger ensemble. I might play the prelude, offertory, special music, and perhaps a composition with the choir. Usually, I only play for one church each Sunday but on occasion have played at multiple churches on the same day.
    The churches that I play at do not broadcast on television or radio; however, it is becoming more common for churches to stream their services. It is important for musicians to treat every performing moment as though it could be on the internet because it often is. I try to be professional in every aspect of my communications, preparation, and performance during rehearsals and services.
    While I play for my own church gratis, I am paid for all other performances. If you are new to the church job scene, ask fellow musicians how they set their fee. I use a simple ledger book for accounting and keep track of mileage on my mobile phone. Any expenses I incur are paid from a business account or with a credit card dedicated to this purpose. This eliminates a great deal of hassle at tax time.
    The number of musicians employed for a typical service varies. Usually it is just the organist or pianist and me. For special services at Christmas or Easter, a larger ensemble may be used. Rehearsals are often short and at the last minute if there is one at all. Because of the lack of rehearsal time, be prepared and know the score ahead of time. Even if your parts seem simple, look them over. If you have any questions, email the music director or organist ahead of time to save time in rehearsal. It is also important to be flexible about last-minute changes and to be a good sightreader.
    Usually, the music director or organist selects the repertoire, but sometimes I am asked to provide suggestions for the prelude, offertory, or other special musical moment in the service. I take into consideration how traditional the service is and if there are any restrictions. For traditional churches, I suggest sonatas by Telemann, Handel and Marcello. Unless there is a large amount of rehearsal time, I avoid the J.S. Bach Sonatas because the keyboard parts are more complicated. At one church, the repertoire guidelines say that all of the music has to reference Biblical verses. The Franz Biber (1644-1794) Rosary Sonatas (also known as the Mystery Sonatas) are an excellent choice for these services.  This collection has 15 short sonatas for violin and continuo that are easily adapted for flute. They can also be played by flute and another solo instrument with continuo as they contain many doublestops.
    Much of the repertoire marketed to church music directors is written with very simple flute parts. Many churches cannot pay for a professional to perform these parts, and the music will sell better if the flute part is simple enough for an amateur or student in the congregation to perform it. Unfortunately, many of the flute parts are written by composers with little understanding of the instrument. I often have to make changes to the octaves, articulation, and dynamics. I do as much of this ahead of time as possible but remain flexible in rehearsal. The articulation I have chosen may not work well with the upper strings, which may be in unison or parallel thirds with me, or the dynamics may not work. For instance, I recently played a line that was written in unison with a child singer and was marked mf. My mezzo-forte would have drowned out the singer, so I changed it to pianissimo. Sometimes I see passages that include notes that are not in the flute’s range. I rewrite these passages but tell the choir director ahead of time. When doubling the soprano line in hymns, I often play the melody an octave higher.
    I also perform at weddings, although most of these jobs come through contractors, and they usually provide the music. Often, I do not see this music ahead of time, so I arrive early to look through the folder and resolve any problems in advance. Sometimes, a contractor will put a violin or other C instrument part in the flute folder, and it is a good idea to check for problems with range and matching articulations with other instruments prior to the event. (The middle of someone’s processional is not the moment to be counting ledger lines below the staff.)
    Unless something else is specifically requested, I wear concert black for church performances. Sometimes a dress code will ask for casual black; in my area, this means men wear black shirts and black pants instead of tuxedos, and women have some freedom in terms of style and material in their wardrobe. Another common dress code here is black with colorful top. I would recommend dressing conservatively, especially for the first service you play in a new venue. I once arrived for a concert-type service at a very conservative church. I had dressed, as the contractor had specified, in what I thought was a very modest concert black outfit – a long-sleeve jacket over a modestly cut top, with an ankle-length A-line skirt, and minimal jewelry. My skirt had a very small slit on one side. During the sound check, I realized that I would be seated so that this slit would face the congregation. While this would have been fine in most situations, as the congregation trickled in, I realized that all of the women were wearing extremely modest full-length skirts and dresses with little color and no jewelry. I had just enough time between to run to the restroom, turn my skirt around backwards so the slit was on the other side, and remove my jewelry.
    I began playing in church as a student and have found it to be one of the best ways to train as a musician. It has taught me flexibility above all else. At the last moment, the minister might change a hymn, or music may be unexpectedly needed in a portion of the service. The start of the service might be delayed requiring a longer prelude from the musicians. A singer might make an intonation or rhythmic error that you have to match quickly. Church musicians also have to master the arts of sightreading and stage presence – you have to keep your composure and keep going no matter what happens in the service.
    Playing church jobs has also put me in touch with other musicians and led to additional work. At this point I know almost all of the church musicians in my region. I am quite busy, so I do very little marketing, but I do try to mention special church jobs on social media. This reminds people that I am available for this type of work. I also try to attend concerts and special services given by other church musicians I know. It is important to support other musicians and to maintain these relationships. Many have become close friends and are truly wonderful people to work with.

Stephanie Lupo

    Stephanie Lupo is Voting Program Co-Chair, Publicity Chair, and Webmaster of the Chicago Flute Club, and she performs with the River Valley Wind Ensemble, the Whisper Tones Flute Duo, and as a substitute flutist/piccoloist for the Kankakee Valley and the La Crosse Symphony Orchestras. She has taught masterclasses throughout the Midwest and was on the faculty for the Dorian Music Camps at Luther College for the past two summers. She is currently writing her dissertation to complete a Doctor of Musical Arts degree in Flute Performance and Pedagogy with a Secondary Area in Music Theory at The University of Iowa, where she was a Teaching Assistant in Flute and studied privately with Nicole Esposito. She received a Masters of Music in Flute Performance at The University of Akron in Ohio, where she was a Graduate Teaching Assistant studying with George Pope and a Bachelors of Music in Flute Performance from Bradley University in Peoria, Illinois studying with Kyle Dzapo.

    I aid in worship at mass each week at a Catholic Church as well as performing for holidays, Holy Days, sacraments, weddings, and occasionally for funerals. I have also been a choir director for Catholic and Baptist churches, and an assistant to the director of music. I began singing in the church choir at an early age and in the seventh grade was asked to start playing my flute at the masses. Currently, I play in my church plus about six other area Catholic churches.
    Since I am a member of the congregation, I am not paid for weekly masses; however, the church provides an honorarium for holidays and sacraments. I am always paid for weddings. When I was a choir director, I volunteered for the first position that I took. After that, word spread that I was a director, and I was recommended for paid positions. When I was in high school, I created the position of assistant to the director of music because I loved the choir director and church and  wanted to start saving for college. I proposed a job description to the director, she talked to the priest, and I was hired. Being a musician requires openness and creativity to find work. This is also why it is essential to be kind and professional at all times, as you never know whom your future employer might be.
    At my current church, there are usually two to five instrumentalists at each mass. For holidays and sacraments, we generally have a group about the size of a pit orchestra. I have also played at churches with around ten musicians at each mass and services where I was the only one.
    While the choir rehearses on Wednesday nights, instrumentalists rehearse 30 minutes before weekend masses in the choir room. For weddings, we arrive an hour and a half before the event. The first hour is our rehearsal, and the prelude begins half an hour before the wedding.
    In every church that I have played or directed, the music director selects the music. Unless it is a wedding, then the couple selects the music. We do play on everything, which includes a Prelude, Gathering Song, Gloria (seasonal), Responsorial Psalm, Gospel Acclamation, Preparation of Gifts, mass parts (Holy, Memorial Acclamation, Amen, Lamb of God), Lord’s Prayer, Communion, Communion Reflection, Closing, and Postlude. The repertoire reflects the readings of the mass and liturgical season. Different music is needed for Advent, Lent, Christmas, Easter, Ordinary Time, or special feast days. Additionally, the readings are on a three-year cycle, so it is not until the fourth year that song lists can even be reused, if desired. The need for so much music is why we use at least four resources: Breaking Bread (OCP), Gather Comprehensive (GIA), Choral Praise (OCP), and Spirit & Song, Vol. 1 and 2 (OCP).
    A solo or ensemble work from the classical repertoire is certainly appropriate for any time instrumental music is needed. The prelude is often a likely candidate, especially if no choir is present. I always bring music so I am prepared for anything. Very rarely am I given a part that is ready to play. Generally, no articulation markings, dynamics, or tempo markings appear in the parts. To determine the octave in which I chose to play, I have to consider factors that include the size of the choir, piano or organ, other instrumentation, part of the mass where it occurs, and so forth.
    Instrumentalists are always in an accompanimental role to the singers and should be ready to adapt to their requirements. Transposing is a valuable skill because many church songs lie outside the vocal range of cantors or the congregation, or the director may want to modulate a whole step higher for the final verse. The keyboard or organ may even remain unintentionally transposed from the last song. Regardless of the circumstance, instrumentalists have to be ready to transpose instantly. I have even played cello parts, requiring me to read bass clef while playing.
    When playing with a choir, it may be necessary to support their parts, which means reading the choir score, playing in treble or bass clef, and many page turns. A useful skill is choosing left-handed fingered notes to play while turning the page with the right hand. Many times, more instrumentalists are present than there are parts. This requires improvisation. If you are lucky, you may have chord symbols or a piano part from which to play. However, sometimes you just have the melody. Being comfortable with scales, chords, and basic chord progressions makes improvisation much easier.
    Church music often requires spontaneity. For instance, the exact number of refrains and verses is rarely pre-planned. Players should keep a keen eye on the director or pianist to know what to play next. In one case, a second communion song was unexpectedly needed. The director mouthed the title to me, ended the song we were playing, and transitioned immediately to the introduction of the new song. There was no time to find sheet music; I just had to rely on my memory of playing it before and an understanding of the harmony. This is a skill set that should be applied to memorizing classical pieces as well. The creativity required in constructing a part really helps flutists, who play single-line instruments, to think about harmony, chord progressions, and the specific notes within each triad.
    Playing in church is also a valuable chamber music experience. Learning when to lead and when to follow, how to blend and tune with other timbres, and understanding how to balance with a variety of instruments are important skills. In church, one must play with an open heart to connect to the members of the congregation. My background as a pastoral musician has helped me to more deeply connect with audiences and, therefore, convey the ideas and emotions within performances.
    Playing at church has led to many jobs: teaching, directing choirs, and playing for weddings. While I was in high school, a couple of junior high flutists started playing at church, and the director suggested that I teach them in a group lesson. They enjoyed it and eventually switched to private lessons and told their friends. With some additional advertising at local schools, I found myself with a flute studio. If you want to teach, include that on your business card, and make sure that the church director, fellow musicians, family, and friends have your cards. If everyone knows that you are looking for gigs and students, you are more likely to get them. I continued to play at church weekly during my undergraduate studies. At the start of my sophomore year, the choir director left and I was asked to take the job. It was a position I held for the next three years. That position led to a paid job directing a choir at another church.
    Weddings were yet another paying gig that stemmed from playing in church. I obtained wedding jobs through church music programs, volunteering to play for a few events to get exposure, handing out business cards, making a website, forming a chamber ensemble, and playing at semiannual wedding music fairs, where couples pick out music and hire musicians. Our ensemble also offered to play for the cocktail hour at receptions for a slightly reduced rate, which gave us larger gigs and more exposure. I quickly realized that having an ensemble increased the number of weddings jobs I acquired. I played many more weddings with my flute, violin, viola, cello quartet than as a soloist. Be sure to leave business cards with local wedding vendors, like reception halls. People often ask for recommendations.
    For any event in which I am getting paid, I wear all black. At a wedding, for instance, you certainly do not want to match or clash with a carefully planned color scheme. Black is always professional and safe. My favorite wedding resources include Sacred Solos for Flute with Piano and Organ Accompaniments, Vols. I and II (Mel Bay) and the Music for Two, Music for Three, and Music for Four series (Last Resort Music). We use these mainly for the Prelude, Preparation of Gifts, Unity Candle, and Postlude. The rest of the music comes from the Gather Comprehensive books (GIA). During the wedding music fair, we present many choices to couples for each part of the ceremony. They can also choose anything they hear at a weekend mass. That way, each time they hear it, they will be reminded of their special day.
    Be open to requests for music that you do not own. If it is something that should already be in your repertoire, buy it. If the music is specific to the couple, have them purchase it. As for the ensemble music, if you have a group that plays regularly at a church, you might ask the music program to purchase and house the music.
    At my home parish, the music director sets the fee for all instrumentalists. This is the fee I use whenever I play in the area. However, I have found that fees vary drastically depending on the location. Ask church music directors, band directors, and orchestral players how much local musicians charge. In one of the first places I moved, I was surprised to find that the concertmaster of the local orchestra was charging less than half of what I was previously making. If the wedding is not booked through a church music program, be sure to draw up a contract, which protects both you and the couple. It should state the date and time of the wedding, music requested, length of prelude (and postlude, if applicable), and payment information (amount and when you will be paid). Make sure both parties sign it.
    If you have never attended a service of a certain denomination for which you were hired, research it. I have experienced many musicians playing their first Catholic mass, and they are always surprised by the length and amount of music within a mass. It can be tiring, so be sure to practice endurance, and warm up before the rehearsal. Additionally, some of the cues come from the words said in the mass, not from the music director. Finding a seasoned instrumentalist to guide you during the service can help tremendously. Owning your own music can be useful, especially for times when you play at a new church. If the church has a small music program, they may not have music beyond the books for the congregation. As always, it is crucial to use your ears, as they are the most important tool you have. You will not receive a tuning note unless you ask for one. Ensembles are generally a mix of more experienced musicians and amateurs, which means the pitch can be a bit uncentered. Listen to the instrument with which you are most prominently playing and adjust accordingly. If you want to know more about playing or developing a music program in the Catholic Church, the National Pastoral Musicians conference occurs every summer, and it is a wonderful way to meet current church composers and music directors. There are also several retreats, such as One Bread One Cup in St. Meinrad, Indiana, that have a musician track, where you can work with a composer and receive training on being a pastoral musician.

Sara Nichols

    Sara Nichols was Principal Flutist of the Baltimore Opera Orchestra (1987-2009) and has appeared as Guest Principal Flute with the Baltimore and St. Louis Symphony Orchestras and the Opera Theatre of St. Louis. She has performed with the National Gallery and Wolf Trap Orchestras, New York Opera Society, and Mainly Mozart Music Festival. International appearances include the Amalfi Coast Music and Arts Festival (Italy) and Miedzynarodowy Festival (Poland) with the National Gallery Wind Quintet and the St. Petersburg Conservatory (Russia) with the Towson Fine Arts Wind Quintet. She also plays traverso as a member of Pro Musica Rara. Nichols coordinates the Flute Society of Washington’s Mid-Atlantic High School Flute Choir Competition and is conductor of the Baltimore Flute Choir. She teaches on the faculties of Towson University and the Baltimore School for the Arts. A graduate of Auburn University, she received an M.M. degree from the Cincinnati College-Conservatory of Music. Principal teachers include Robert Cavally, Timothy Day, Britton Johnson, and Bootsie Mayfield.

    Church musicians create an added dimension to the worship service. Each member of the congregation enters carrying burdens from their lives and has chosen to enter this quiet space to reflect and worship. Music can be a powerful force that resonates with one’s spiritual and emotional center.
    Sometimes I am contracted to perform as a member of an orchestra or chamber group, but more often I am hired as a soloist by the music director or organist. I play several times a year at my own church as well as at other churches in the Baltimore area. It is not unusual for me to play at three different churches on Christmas Eve. My church hires five full-time singers to augment the choir, and instrumentalists, especially chamber brass and strings, are hired for special occasions. Orchestras are hired less frequently due to budgetary concerns. Dress for this type of service is usually all black.
    If I am performing with an orchestra, then there is a single two-hour rehearsal scheduled a couple of days in advance. If I am the soloist, I schedule a short rehearsal. When I play at a service as a soloist, I generally play both prelude and postlude, a descant part to an anthem, and improvise on all hymns. For a special occasion (like a Christmas Lessons and Carols or a Mass), it is not unusual to play on five or more anthems.
    There are numerous variables to consider while selecting appropriate repertoire. Selections are determined by the religion – Protestant, Catholic, or Jewish – and the overall tone and formality of the service. I work closely with the organist, music director, or cantor who understands the intent of the church’s leader. All music must be accurately timed so the service will stay on schedule. This is especially important while planning a prelude, which may begin anywhere from 5 to 30 minutes prior to the service. While movements from standard Baroque sonatas (J.S. Bach, Handel, Telemann, Blavet, Quantz, etc.) usually fare well, there are many other compelling works that are less well known. I divide repertoire into two general categories: solemn/contemplative and joyful/energetic. Too many flashy fast notes can distract from the spiritual intent; the focus should be on the mood of the service, not the performer. Some selections work better with the piano as there is less of a delay of sound than with most organ pipes. It all depends on the condition of the instrument (especially intonation), the acoustics of the space, and the organist. It is also wise to bring unaccompanied music such as the J.S. Bach Partita, Telemann Fantasies, or Robert Stallman’s Bach transcriptions in case you need to fill unexpected time.
    Generally, the music I am asked to perform has been well edited. However I often make slight adjustments (including articulations, dynamics, or octave) based on the size and projection of the choir and the acoustics of the space. Occasionally an organist will ask if I can double one of the keyboard lines to enhance a particular section. Do offer suggestions and mark your parts clearly as rehearsals are generally extremely limited.
    If you aspire to perform as a church musician, determine churches in your area that have active music programs. The most effective way to introduce yourself is to schedule a reading session with the organist. Select repertoire which you perform with confidence. You will both know immediately if this is a musical relationship worth pursuing. Be up front about your fees, but keep in mind that the music director has a finite budget; be willing to compromise. The American Guild of Organists ( is an organization similar to the National Flute Association. AGO sponsored concerts and events are excellent opportunities to meet church organists.
    I have found a deep sense of fulfillment as a church musician. It requires trusting my musical instincts, which challenges my spontaneity and creativity. I have developed treasured friendships with many of these superb musical colleagues and have experienced the immense power of music by performing in a setting outside of a concert hall. 

Jeannine Goeckeritz

    Jeannine Goeckeritz is principal flute with the Orchestra at Temple Square where she performs, records, and tours with the Mormon Tabernacle Choir. She is a sought after freelance musician, and as a recording artist, she can be heard on movie soundtracks, national television broadcasts, commercials, video games, and numerous CDs. As part of the Oswald-Goeckeritz Flute and Harp Duo, she has performed throughout the United States and Europe and can be heard on her CD, Chanson, and her YouTube channel ( She studied with Debbie Brown Ragsdale, Myrna Brown (NFA executive coordinator), and Jane Wadsworth. She received a BA in music performance and was adjunct flute professor at Weber State University for 20 years.

    I play principal flute for the Orchestra at Temple Square and Mormon Tabernacle Choir. They are a significant presence in the world of music, giving service through song. This unique volunteer music organization brings together people from around the world through stirring music. All performers  are members of the Church of Jesus Christ of Latter-Day Saints. Performing with the choir and orchestra is a busy, demanding, but fulfilling musical and spiritual experience. The orchestra plays almost weekly on the Mormon Tabernacle Choir’s  Music and the Spoken Word, a live broadcast of inspiration music that is filmed and recorded for television, radio and the internet. This weekly program has been broadcast for over eight decades.
    We rehearse on Thursday evenings in preparation for the Sunday morning broadcast. We do not receive the music ahead of time to practice, but sightread it at rehearsals. There are also at least five major concerts each year that have multiple performances. I have recorded with the choir on their CDs since 1999 and go on tour with them every other year, performing at wonderful concert halls and outdoor venues. Each December the choir and orchestra perform with internationally recognized guest artists in performing three Christmas concerts in the LDS Conference Center, which holds 21,000 audience members. These concerts are filmed, recorded and then edited so that they can air on PBS stations nationwide the following year. I play on about 60 services a year.
    Other than a few paid positions in the Mormon Tabernacle Choir organization, everyone else is a volunteer. The orchestra and choir are made up of musicians from different backgrounds and careers, but many in the orchestra are professional musicians who donate their time. All orchestral applicants must meet a strict standard of musical education, performance experience, and sightreading abilities.
    The choir is made up of 360 people, and the orchestra has 120 members. Approximately 70-80 orchestral musicians play each week. As principal flute I am responsible for managing the flute section and assigning players for each broadcast and performance. Rehearsals for the Sunday morning broadcast are held on Thursday evenings for 2½ hours. We usually perform and rehearse in the historic Tabernacle on Temple Square in Salt Lake City.
    Years of regular rehearsals and performances have greatly increased my confidence. There is often a cameraman moving close by to get shots of different orchestra members as we play. I have strengthened my ability to concentrate without being distracted, as well as looking calm and playing under the pressure of a live performance being viewed by millions around the world. Performing with over 400 musicians in large venues is an experience most church musicians never have. You cannot be self-focused, but must listen and follow to maintain cohesiveness. I need to judge when to play out on a solo line or when to blend with voices and instruments so that I become an added color or nuance.
    For the concerts and television broadcasts, we wear black dresses with at least three-quarter-length sleeves for women, and tuxes, suits, and ties for the men. Since most of the performances are televised, how you look is important. There are multiple cameras, so one may be within a foot of you. Hair, nails, jewelry, facial expressions and overall appearance should all be considered in addition to clothing, so as not to distract from the performances.     

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Good to Know

Charlene Romano: Not all organs are tuned to equal temperament; they may be tuned to Baroque tuning systems. The organ may sound in tune in the key of C or closely related keys, but seem much less in tune or even horrid in keys that are farther out. It is a good idea to ask about this and any other special characteristics of the organ when playing at a church for the first time. Most organists are passionate about their instrument, and are appreciative of questions.
Additionally, remember that organ tone does not decay like piano tone does, and that as with a harpsichord, the amount of pressure on the key has no effect on the articulation or dynamic level. Organists produce dynamics by varying the stops, using the swell doors, and by varying voicing. A skilled organist can even produce the micro-dynamics other musicians use to shape a musical phrase.
When performing with the organ, pay attention to where you are standing in relation to the organ and its pipes. The pipes are not always directly above the organ. Ideally, the flutist and organist should be able to see and hear one another well. It is a good idea to have someone check the balance from the congregation’s perspective as well.
I strongly recommend learning the order of the Catholic mass. It is also used or closely imitated in many Protestant churches.

Sara Nichols: The cost of maintaining church keyboard instruments, especially in colder climates is exorbitant. While the heat is usually turned up for services, it is often dramatically reduced during the rest of the week. This severely affects intonation on keyboard instruments. I have a thermometer on my tuner and have experienced temperatures of 50 degrees at some rehearsals. Try to be flexible, wear layers, and do whatever it takes to play your best.
Always carry erasable colored pencils and post-it notes. They are essential, especially when performing in a Catholic mass. Clearly marked parts will help to improve accuracy and consistency.

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Sara Nichol’s Favorite Solos
with Keyboard Accompaniment

Canzone by Samuel Barber (Schott)
Sonatina (for recorder), Mvt.II by Lennox Berkeley (Schott)
Suite Modale, Mvt. I, II by Ernst Bloch (Broude Brothers)
Nocturne (for violin) by Lili Boulanger (Schirmer)
Aria by Eugène Bozza (Leduc)
Morceau de Concours by Gabriel Fauré (Bourne )
Fantasie by Faure, first section only (Schirmer)
Sonatina, Mvt.II Arioso by Keith Gates (
Aria by Jacques Ibert (Leduc)
Air (for flute and organ) by Lowell Liebermann (Presser)
Sonata in C Minor (for oboe) Mvt. 2 by Benedetto Marcello (International)
Share for alto flute by Belinda Reynolds (
Suite Antique, I. Prelude; III. Aria; V. Chanson by John Rutter (Oxford)
Erev Shalom and Vocalise by Gary Schocker (Presser)
Summerland (for violin and piano) by William Grant Still (www.
Sonata, Mvt. II, Aria from Sonata by Otar Taktakishvili (Associated Music Publishers/
Hal Leonard)
Ballade and On a Summer Day by Joe Utterback (Jazzmuse, Inc.)
(More appropriate as a postlude)
Suite Modale, Mvt. III, IV by Ernst Bloch (Broude Brothers)
Sunstreams by Ian Clarke (IC Music)
Suite Antique, II. Ostinato; IV. Waltz; VI. Rondeau by John Rutter (Oxford)
Pastorale by Germaine Tailleferre (Elkan-Vogel/Presser)
Trio Sonatas by J.S Bach/transcribed by Jean Ferrandis, BMV 525-530 (Barenreiter)
Eight Pieces for flute and Ten Pieces for flute by Hans-Andre Stamm (Notenverlag HansAndre Stamm)
Any fast mvt from a Baroque sonata