The term “variations” in this work is used somewhat loosely and does not
conform to the strict connotation of the classical “Theme and Variations” form.
Rather, it is used in the sense that the presented themes are decorated and
varied over a repeated ground bass in much the same way as in a Chaconne.

Material for this work was drawn from an earlier work Phospherics. This title
came from a series of word associations:

Phosphorous: phosphorescent, luminous, green, nature.
Spherics: spherical, circular, cyclical, cycles.

Versions of phosphoric Variations were originally composed for alto saxophone
and piano, then later for clarinet and piano. This version alters the material
again slightly in order to fit the flute in an idiomatic sense.

Foreword
These pieces have been chosen to give the advanced flute player a melodic selection of traditional studies and caprices. The works were adapted from the violin music of Kreuzter, Rode and Paganini and offer flautist the chance to play virtuosic studies that are immensely enjoyable - both to play and to listen to.

Mastering one study at a time is a proven technique for learning these demanding pieces. Precision is vital. Detailed observation of pitch, rhythm and nuance is an effective way to begin the 20 pieces. Meticulous study now will save time and frustration later.

No breath marks are given and often no rests are present to indicate where to breathe. Given the wide variety of tempi that these studies are likely to performed at, each flautist must choose their own breathing points. Remember though that breathing is decided by the musical phrase, rather than the phrase being decided by the breathing. It is suggested that the occasional note be ommited to occomodate breathing rather than adjusting the tempo.

Given that most of the studies are intended to be played at a fast tempo, the exact metronome marking is left to the discretion of the player. However, several pieces are quite effective at a slower tempo and it is important to place accuracy above speed.

In most of the pieces, the articulations are taken directly from the violin. Use these original markings or explore additional patterns of your own choosing. Whatever the choice, a clear and consistent approach to articulation is recommended.

These works are not intended solely for technical development but rather for the musical application of an already advanced technique.