Well after a brief listen, I think one area that might need some work is intonation. Particularly in the Ave Maria recording this becomes evident. If you work with a tuner on the stand, check it if every so often (but not staring at it), it should be come more obvious where you go sharp and where you go flat. With this new found awareness, you can work with a tuner to be sure that you are playing in tune. Remember, when working with a set-pitch instrument such as a piano, it becomes even more important for *you* to adjust, because unlike playing with pther flutists or string players, the pianist cannot adjust their pitch to meet yours. You might also work on your phrasing a bit. The notes were there, but the idea of a line was not evident all the time....Each note was isolated rather being connected with others to form a musical idea. Try to figure out where the line is leading, and phrase accordingly. Tied into this is breathing. As you discover where phrases begin and end, it becomes important not to breathe in the middle of one (or in the case of a very long phrase where you must breathe, not to breathe in an inappropriate place, which I know is rather ambiguous, but it's up to you to figure out what's inappropriate from one piece to the next). Well, those are my suggestions. I hope they're helpful and more or less constructive. I applaud your courage to put yourself out there like this and offer yourself up to criticism. If I can find someone with the appropriate recording equipment, I think I might do so myself.

No problem....As I understand it, they're actually turning one of the rooms in the band room at my old HS into a recording studio, so once that's done I should be able to record free of charge....If that's not done before I head off to college, I'll use the recording studios at UNC to get something up for you guys.