This is without doubt my favorite of my arrangements and the one of which I'm most proud.  The feedback I've received has been tremendous.  Julius Baker congratulated me for this work at the National Flute Association convention in New York City.  Now that was a heady feeling.   It was also a finalist in the NFA new publication competition.

    It's arranged for piccolo, Eb flute (with an included C flute alternate part), 4 C flutes, alto flute and bass flute.  The Eb flute part would be incredibly difficult played on a C flute, but it is playable.  The work as a whole is very difficult across all parts including the bass flute part.  In fact, the alto flute part is probably the most challenging part in the piece.  I have been fortunate enough to play with Paige MacDonald.  She owns a contrabass flute (named Slick) and she has played with us (The Nashua Flute Choir) on this piece.  Wow!  What an addition, just doubling the bass flute part!

    This is probably a good time to mention my philosophy on orchestral arrangements.  I try to give my pieces as much of the original work as I can.  This means that they can be very taxing on the players and that there are no extraneous or optional parts.  I've seen many works that indicate that the alto and bass flute parts can be left off and the piece will still work.  I will not pretend to say that any parts of The Hebrides Overture can be omitted in an attempt to sell you the work.  It is absolutely critical that you have the full instrumentation to play this piece.