15 Duets for Flute and Guitar-This collection features 15 of Maria Linnemann?s guitar pieces in arrangements for flute and classical guitar. It was inspired by the beauty of the combination of the two instruments. Two for the Road aims to encourage many players to get together and enjoy a duo session ?on the road?!

Compiled and arranged by Michael Karp-Sixteen pieces from the Classical era for the slightly unusual combination of Flute and Guitar arranged by Michael Karp. Includes pieces by Mozart Beethoven and Clementi. Separate Flute part.

Forty little pieces adapted from the Classics for Flute and Guitar transcribed and adapted by Louis Moyse. Separate Flute part.

with Suggested Chordal Accompaniment-This collection contains 100 favorite gospel songs and hymns for flute and guitar. Inside you will find rousing camp meeting songs sentimental expressions of a deep-rooted faith and gospel oriented hymns with an old-timemusic flavor. In preparing this collection I felt the sincere and solid faith of America’s “revivalist era” staunchly embedded in the rural and southern regions of America but also in the dedicated inner citymissions founded in sprawling urban centers. These solos will bring joy exuberance nostalgia and a renewed sense of commitment to any worship celebration. They serve as a vehicle for and witness to the Christian faith.

Twelve masterpieces from Bach arranged for Flute and Guitar. With separate pull-out Flute part.

Work for Flute and Guitar commissioned by Clive Conway and Gerald Garcia.Anthony Payne: 'As a passionate Elgarian for most of my musical life I was fascinated by the prospect of writing something which reflected or somehowincorporated his Memorial Chimes written for the Loughborough Carillon a piece moreover which I did not know although I pride myself on an intimate acquaintance with the greater part of his output. My own style is a far cryfrom that of the English late-romantics which I so love but I have recently discovered how to relate to their music in more than just spiritual and emotional particulars and in Spring's Shining Wake I produced a gloss of Delius'In a Summer Garden finding equivalents in my vocabulary for each of that work's procedures somethings approaching the original closely and sometimes shadowing it from afar.p>When I saw the Elgar I immediately realised that thiskind of approach was out of the question. For one thing it is quite a short piece and frankly it is not one of the master's great inspirations. It does however possess one characteristically haunting phrase and I saw how Icould draw it within my own harmonic and textural orbit not the sort of idea to base a work on but a happy little discovery such as one often makes during the course of composing a work.I accordingly set out to write a shorttone poem which somehow draws together the sonorous 'objets trouvés' which float into the mind during intense contemplation of a still landscape memories of the past (the Elgar) intimations of magic in the wind sudden intenseperceptions of the cosmic forces of which we form such an insignificant part ominous vibrations borne on the air from some other existence.

Francis Poulenc (1899-1963) was an energetic French composer who is known for both his light-hearted instrumental works and his more serious sacred and choral music. His Mouvements Perpétuels (1918)was originally composed for Piano and is one of his earliest works penned while he was a conscript in the French army. While it has rightly endured to this day the older Poulenc did not like it thinking it detractedfrom his later more sombre work. This popular version of Mouvements Perpétuels is arranged for Flute and Guitar.