These five, short lighthearted pieces are intended for intermediate to advanced students looking to balance out their repertoire for examinations and recitals. They can be played in any order using any number of them. The accompaniment is quite straightforward and could perhaps be played by a fellow piano student. I hope you have as much fun performing them as I did writing them. I. Offsets. This piece is named after the compositional technique I used: the main theme is played by the flute at a number of different rhythmic offsets against the piano accompaniment. The constant staccato will be a challenge especially when it’s low in the flute’s register - but I have asked the piano to play quietly to give you a chance. Try to keep the staccato notes as precise as possible ensuring that the piano and the flute are exactly together. There are a few tricky offsets but if you keep it steady it will work out. The slower, middle section should be played with a more tender timbre to give the listener a change of pace. II. Reverie. This piece opens with the instruction to create a “hollow” timbre so try to make sure there is a big difference between the opening section and bar 8 where it reverts to normale. Make the crescendo as slow and steady as you can throughout section A and then throughout the long crescendo starting at letter C. This piece is full of long, flowing phrases: don’t let the final note of a phrase fall away too soon. The glisses should be as smooth and slippery as possible. III. Round Canons. This piece is made up in a similar fashion to Pachelbel's famous canon: it has a bass figure (the ground) that repeats steadily throughout with variations that are first played by the piano and repeated by the flute. Whilst the flute is playing the previous variation the piano begins a new one. There are some tricky rhythms in this one but don’t let the time signature scare you. Just keep the quaver pulse steady in your mind and you will get through perfectly. IV. Two of a Kind. Lots of fast tonguing here so you may need to use double tonguing. Pay attention to the different articulations requested to maintain variety in your interpretation. V. Floating Dreams. The opening section of this piece asks for a beautiful, free, floating sound from the flute. It moves quite quickly across the range so try and keep your timbre coherent between the ranges. The middle section from letter B is made up of modulating lydian scales which give a lovely free and floating modality to the melody. Try to keep your breaths between phrases as quiet as possible to keep the momentum of the longer melodic line moving. The last phrases of the piece should be as quiet and beautiful and as full as possible.