Piece for Flute and Two Guitars

This is a short rules piece written for an ad hoc trio that never materialized for various reasons. Any comments, suggestions or criticisms you might have would be appreciated. Thanks for listening


.Flute and 2 guitars.mp3

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  • It's beautiful, Ingo. Calm, flowing. But too short.

    I listened to it several times wondering if there's a way it could be extended. Is it possible to splice in a repeat passage at around the 1 minute mark where it reaches a cadence, giving the tune to one of the guitars as a solo in a higher register. The flute could either counterpoint it or add harmony notes or even a second theme with the same harmony? There's a chance for development but that might elongate it beyond what you want. 

    This is just my impression thogh and if you're happy as it is, that's what counts.

    The sounds are very good but the flute could perhaps be just a bit more prominent. 

    Thanks for an enjoyable listen!

    All the best,


    • Thank you Dane for the good suggestions!  I could probably extend this piece but my original thought was to have a traditional suite of short pieces all in the same key with rhythmic and thematic variations that would be played as movements of a larger work. Of course traditional suites began with an allemande so I've already broken one rule!

      I wanted something that would be appealing but not be too time consuming for the people I had hoped would be able to record it but they are currently unavailable, hopefully not because they didn't like this!  (They say they like it, oh well . . . )   Thanks again for listening and commenting.


  • Only the brave attempt to write for guitar on midi.  lol.  As an old guitar player, I've never been able to make one work to my liking.  Still, I can see that this is a very emotional piece that, for me, brings up images of someone who has made a decision and the stress is gone from a long struggle with it.  It also has a montage feel to it.  Maybe several scenes of the protagonist enjoying his/her life again after coming out of that struggle.  

    Thanks for posting!  

  • Hi Ingo,

    A pleasant, somewhat folk-ish tune in a traditional style - thanks for sharing!


  • As an amateur guitar player myself, my comment would be, why this was scored for two guitars when one would have sufficed, given the part you wrote for it?  Well OK, I'm not 100% sure there aren't any places where it would have been impossible for one player to play every note, but from my casual listening a single professional player ought to be able to play all of the important notes, or do a reasonably close approximation of them.

    Of course, there may be other considerations such as volume, since a single guitar may be too soft depending on the venue and if microphones are not available. But if I were to write for two guitars, I'd want to take advantage of that to write more interesting parts.  Maybe at least one passage with more filled-out harmony, e.g., by using different fingerings for the same chord simultaneously, possibly with capo.

    Also, the guitar parts could use some more idiomatic writing, e.g., with at least some strummed chords.

    The melody itself is nice, though. Relaxing to listen to.

  • Douglas  - Well I've never been accused of bravery before but the prospect of doing a live recording of an acoustic guitar gave me the courage to use a VST instrument instead :)  Especially since my plans for a live trio had already fallen through anyway.  But I thought the NotePerformer guitar was acceptable so I used it.  Thank you for giving me your impressions of the piece, that is always interesting and useful.

    Gav - Thank you for listening and commenting, I hadn't thought of this as folk-ish but that's a good insight.

    HS -  You are right, the guitar parts could have easily been combined into one guitar. Actually the whole piece could have been combined into one part for solo guitar but as I said above I have a trio of friends that wanted to do an easy short piece for two guitars and flute so this was the result. I'd love to put in rasqueados and cadenzas etc. but even this little piece was too much for people with busy lives so here we are!

    • In casual settings it's common for guitar players to come together and just jam to the same tune and play the same part together. So it's not a big deal. :-)

      But since you have two guitars (or rather, you were to have two guitars -- sorry to hear your plans fell through), it would've been fun to have them play different parts to make things more interesting.

      In my casual guitar-playing I often like to play in a different key but adjusted with capo to the key other guitars are playing at, so that I can use different fingerings that result in different chord tones of the same chords.  This fills out the "missing" notes in the chords and produces a richer sonority.  But this pertains more to strummed chords than to plucked melodies.

      For the latter, I've seen players who can singlehandedly pluck out fugues (well, complex counterpoint in general) on a single guitar by exploiting alternate fingerings for various notes so that they can played simultaneously. Depending on the skill level of your guitar players, though, it might be a better idea to split it up into multiple parts. :-D

      • Guitars are verstatile indeed!  And so is Bach.



        • Funny you linked to this piece... this morning I just read an article that this piece was most probably not composed by Bach, but likely by one of his students who lived in Nuremberg, though later attributed to Bach.

          But authorship questions aside, I'd say that a large part of classical music is very versatile, especially the music from Bach's era, before the later emphasis on instrument-specific idiomatic writing.  I've seen Beethoven's 5th performed on tuned trash cans, for example.  It's a testament to how good the notes were, that they'd sound good no matter what they were played on. That's the kind of music I aspire to write: the kind that'd sound good regardless of the medium. (Though paradoxically, I'm also interested in orchestration, which is all about writing idiomatic music for specific instruments. But I think the paradox can be rationalized by regarding orchestration as a conceptually-subsequent process applied to the underlying abstract notes. The underlying notes better be good, otherwise no matter how good the orchestration is the music will still suck.)

  • Great work! So silent, so calm. There is something russian there I mean something from Shostakovich (https://musescore.com/user/16112556/scores/5195650). Beautiful! Really! Good job!  

    Shostakovichi - The Second Waltz (for Flute and Guitar)
    Download and print in PDF or MIDI free sheet music for Waltz No. 2 by Dmitri Shostakovich arranged by Hyeon Kim for Flute, Guitar (Mixed Duet)
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