Using themes from the entire ballet rather than just the Suite, I was hoping to give this work a fresher sound. You know you've heard some of the tunes, but maybe you didn't realize it was from "The Nutcracker."

An original full-length work for flute choir, the concept is a riff on Mendelssohn’s “Songs without Words,” Each movement has a “wordless” theme: No Talking in the Morning, Unspoken Affection, Shut-Up and Dance.

From a stormy, chromatic beginning, this arrangement settles into a luscious legato setting of the famous chorus. Then another brief breath of storm, followed by a bouncy, jazzy section that's about as "big band" as a flute choir can get.

Winner of the 2015 National Flute Association Flute Choir Composition Competition, this original work features light-hearted poetry to introduce topics that flute players will recognize: from alluring embouchures to sticky pads.

It’s a “Sleigh Ride” but not the Leroy Anderson one. It’s also by Mozart, but not by Wolfgang Amadeus. It is a charming piece by Mozart’s father, Leopold, composed in 1755 as part of his Divertimento in F for orchestra.

A jaunt through the classic piano repertoire, with many familiar tunes such as “Rondo Alla Turca,” “Claire de Lune,” and even “Chopsticks”! Meant to evoke that long-ago nervous thrill of playing a piano recital in a roomful of strangers, this is sure to bring back some memories.

A shortened version of the Overture to the opera “Semiramide” keeps all the good stuff but cuts the time in half, hence the title “Semi”-ramide!

An arrangement of the sprightly hymn tune “When the Roll Is Called Up Yonder.” Appropriate for church or general use and features a variety of variations, including a jig and some blues, with some of Handel’s “Messiah” mixed in.

A piece that's well-adapted for flutes and is very moving and beautiful.

Once you’ve heard this piece you’ll swear you’ve heard the entire “Pictures at an Exhibition.” Why the rush? Because the tunes are really wonderful and everything fit together with unexpected results.

This makes a great overture to get holiday concerts off to a flying start. It not only combines “Pat-a-Pan” with “Carol of the Bells,” but also throws in liberal doses of Smetana’s “The Moldau,” and sly quotes from Mendelssohn’s “A Midsummer Night’s Dream.” The overall effect is rather like “Danse Macabe.” And all in less than two-and-a-half minutes!

After writing the Flute and Piano version of this piece, it occurred to me that it would make a nice flute choir showcase. The contrapuntal nature of the original suits an ensemble very well and it’s a ton of fun to play!

Here's some fun for the heavy metal element in your flute choir. The perfect vehicle for spotlighting the low flutes while providing a little tonal variety to your holiday concerts. Two popular Christmas songs are combined in a piece that runs the gamut from quick hoedown to lyrical ballad to laid-back jazz.

The moody melody is accompanied by active, beautiful and bubbling 16th notes. A variation takes the song into a lighter mood that’s Celtic and lilting.

Highlights from Handel's beloved oratorio include: "Glory to God in the Highest," "For Unto Us a Child Is Born," "Amen," "He Shall Purify," "He Shall Feed His Flock," and, of course, the rousing "Hallelujah Chorus." Perfect for those who want a taste of the work without having to eat the whole meal.

Although melodically and harmonically simple, this tune is compelling and lends itself to such beautiful interpretations. Perfect for church or secular use.

Originally composed for organ, the contrapuntal nature of Bach fugues lends itself admirably to an ensemble arrangement. This one, with its lively dance rhythms, really appealed to me. Precision is the key here and the only way to accomplish that is to tread lightly.

Inspired by the crazy changeable weather of my native Chicago, I’ve taken Vivaldi’s programmatic concertos and mashed them into a climate-changing maelstrom that combines a year’s worth of snow, heat, storms and harvest jollity all into five minutes.

There are certain “rites of passage” that we all have to go through to reach maturity. Four of them are represented by movements of this work: 1) First, Birth, 2) First Steps, 3) First Love, and 4) First Flight (from the Nest).

This is a great show opener or overture that combines “Ding Dong! Merrily on High” and “Deck the Halls.” It makes ample use of major thirds to give the impression of a whole lot of doorbells. It’s bubbly, fast, and engaging.

A Renaissance mix of Yuletide music and secular dances such as “Greensleeves,” “The Boar’s Head Carol,” “Une jeune fillette,” “Psalite” and others.

In my opinion, one of the best songs ever written. I’ve given it a gospel feeling which adds nicely to the deep emotion of the melody.

This “5 Minute Masterpiece” condenses Beethoven’s monumental 9th symphony down from 75 minutes to 5. It covers all the good parts without making the piccolo player wait around 45 minutes before playing!