This thesis explores the use of transcriptions to expand the flute repertoire, as well as the
challenges transcriptions pose to both the performer and the arranger. It specifically examines
Joaquin Rodrigo's Concierto Pastoral and Fantasía para un Gentilhombre, a piece originally
written for guitar and later transcribed for flute by Sir James Galway. This paper will determine
what is required to write a successful transcription.