In choosing what pieces to include in this annotated bibliography, I first considered year of publication. Most teachers are familiar with the very limited flute publications both pedagogical and repertory prior to 1980, so I have limited my survey to pedagogical material published in the last ten to twenty years, when a great volume and number of high quality new methods and supplements have become available. I also have chosen to cover more newly composed music both with and without extended techniques as these pieces are not covered by the Suzuki repertoire, and are required of all intermediate to advanced students in various syllabi surveyed.

If a selection appeared in more than one resource, I have included it. Most importantly, I have chosen those selections that were recommended by Suzuki Teacher Trainers, and pieces used successfully and referred to by other Suzuki flute and non-Suzuki teachers. I have also chosen pieces I enjoyed playing as a student or teacher, and pieces that my students have tested and enjoyed. A number of pieces were not successfully received by students or had little pedagogical value, and have been omitted.

Analytical method

In analyzing each piece, I considered criteria of tessitura, rhythmic concepts, meter, key, and characteristics of each piece not accurately described by previous bibliographies, such as technical and extra-musical content, ensemble, musical/interpretive suitability for the student. Rhythm and key largely dictate why a piece is placed in a specific grade, but I have tried when possible to include those pieces which are approachable at a lower level even though the key area or rhythm puts it just outside of a particular grade.

Grading levels

The grading level corresponds to the concepts taught in a particular Suzuki flute book level, and I have briefly enumerated the specific technical and musical concepts presented at each level in the following table. When necessary, I have included concepts in a level that are not addressed by the Suzuki Flute book per se, but are required of the student in other pieces and methods outside the repertoire and which are commonly introduced at that point in the student’s musical development. In some cases I have subdivided the levels of the Suzuki Flute repertoire- such as book one being divided into two distinct levels and books five and six being combined into one level due to homogeneity of concepts.

For a further description of the levels used, please click here