Flute w/Mixed Ensembles

Colonel Bogey March by Kenneth J. Alford (Frederick J. Ricketts)

Arranged for Flute/Piccolo, Cello or Bassoon, and Piano by John W. Pratt (originally for military band)

Score and Parts for Flute/Piccolo and Cello, PDF $13.99

The Colonel Bogey March was composed in 1914 by the British Army bandmaster Frederick J. Ricketts, who published under the pseudonym Kenneth J. Alford.  Having since appeared in a variety of famous films and TV shows, the tune will surely be familiar to most.  As originally written for military band, the piece is best performed outdoors or in a very large hall.  John Pratt has created an arrangement for an ensemble suitable to smaller spaces ... a trio of flute/piccolo, cello or bassoon, and piano can cover the musical essentials just fine and provide desirable tonal variety to boot.  (Please note that bassoonists use the cello part, playing the upper note where the cello has an occasional double stop.)  For amusement, while also allowing time for the flutist to switch between flute and piccolo, Pratt has inserted a few short “what’s-that-tune?” passages, making for an especially entertaining adaptation of Ricketts’ composition.

Score, 14 pages; Flute/Piccolo part, 3 pages; Cello part (Bassoon uses cello part, playing upper note of double stops), 3 pages; Total, 24 pages. 

Quartet No.1, by Juan Crisóstomo de Arriaga

Violin 1 Transcribed for Flute by Peter H. Bloom

Flute Part, PDF $9.95

Peter H. Bloom wrote the following foreword (© 2014):

"Even among the most celebrated musical prodigies (Mozart, Mendelssohn, Pergolesi, and Varèse, for example), Juan Crisóstomo de Arriaga's genius and technical mastery are exceptional. This D-minor quartet, one of three string quartets written in 1824, is a work of structural brilliance, rhetorical grace, and elegant intensity.

Adapting music originally written for violin to flute is often relatively straightforward. Occasional octave reassignment and re-interpretation of double stops are typical changes. But when a flute assumes the voice of the first violin in the context of a string quartet, further accommodations are usually necessary. Dynamic balance, sonority, clarity of phrasing and consistency of articulation among the ensemble require a reassessment of many interpretive indications that are native to the violin. In this arrangement we have, as a rule, eliminated Portato indications; they are useful for violinists but merely distracting to the flutist. Articulation and phrasing marks have occasionally been changed, or eliminated, in instances where violin-orientated directions might mislead the flutist.

A final thought: The flutist proposing to replace the first violin in a string quartet of this beauty and integrity may meet resistance from string-playing colleagues. After a fair reading, however, they'll share your enthusiasm for Arriaga's Quartet in D-minor for Flute and Strings."

We provide only the transcribed Flute part. The Violin 2, Viola, and Cello parts, as well as the original Violin 1 part, are in the public domain and available as free PDFs downloads from IMSLP.org.

Flute part, 9 pages; Total, 12 pages.

Ablaze She Came in the Dream, by Peter H. Bloom

Contemporary Composition for Flute, Cello, and Guitar (or Electric Guitar)

Flute, Cello, & Guitar Parts, and Score, PDF $22.97

Ablaze She Came in the Dream by flutist Peter H. Bloom was scored in its original version for flute, viola, and guitar.  This intriguing piece comprises eleven brief episodes, which may be repeated any number of times.  It is intended to serve as an interpretive vehicle for the performers and thus should be executed freely and expressively.  Ablaze received its premier performance in November, 2014, in Boston as part of the Church of the Advent Library Concert Series and featured Mr. Bloom on flute, Frank Grimes on viola, and Anastasiya Dumma on electric guitar.

In the spring of 2016, NSM received a request for a cello version of Ablaze; we complied by creating, in collaboration with the composer, an adaptation for flute, cello, and guitar.  Ablaze is not only an exciting piece to hear, it's fun to play as well.  Both the viola and cello editions are suitable for adventurous, advanced players.  Those wishing to purchase one of our Ablaze editions and then order an additional alternative viola or cello part for a small charge should use the Contact Us form to let us know; we'll make arrangements to accommodate your request.

Score, 23 pages; Flute Part, 11 pages; Guitar Part, 12 pages; Cello Part, 12 pages; Total, 66 pages.

Ablaze She Came in the Dream, by Peter H. Bloom

Contemporary Composition for Flute, Viola, and Guitar (or Electric Guitar)

Flute, Viola, & Guitar Parts and Score, PDF $22.97

Flutist Peter H. Bloom is no stranger to Noteworthy Sheet Music or to our customers, as he has contributed several popular arrangements and transcriptions to our catalog and he also serves as an editorial consultant for NSM.

Now we are very pleased to offer this newly published (2014) and highly intriguing original composition by Mr. Bloom entitled Ablaze She Came in the Dream.  The piece comprises eleven brief episodes written for the unusual trio combination of flute, viola, and guitar (or electric guitar).   Ablaze is intended to serve as an interpretive vehicle for the performers and thus should be executed freely and expressively.   The work is suitable for advanced players.

Click to access a recording of the premier performance of Ablaze which took place on November 21, 2014 in Boston, MA, as part of the Church of the Advent Library Concert Series.  The performance features Peter H. Bloom on flute, Frank Grimes on viola, and Anastasiya Dumma on electric guitar.

Score, 23 pages; Flute Part, 11 pages; Guitar Part, 12 pages; Viola Part, 12 pages; Total, 66 pages.

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We also offer a professionally-printed hard copy edition of Ablaze She Came in the Dream for $45.88 plus a $5.95 shipping and handling fee. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided for delivery in 7-10 business days.

Variationen über ein Thema von Joseph Haydn by Johannes Brahms

Arranged for Piano, Flute, Oboe, Bb Clarinet, and Bassoon by John W. Pratt (originally for two pianos or orchestra)

Piano Score and Parts for Flute, Oboe, Bb Clarinet and Bassoon, PDF $26.99

Johannes Brahms completed composition of his Variations on a Theme by Joseph Haydn in 1873. He wrote two versions of the work, one for two pianos, the other for orchestra. The two-piano version, written first, is not a piano reduction of the orchestral version, nor is the latter an orchestration of the former. When Brahms planned an orchestral work, he often wrote piano sketches first, but this is the only one he published separately, with its own opus number.  Clearly he valued it as an independent piece, perhaps because (as the performance on YouTube by Lupu and Perahia shows) much of it has a lightness, charm, and wit unachievable by a full orchestra.  The purpose of this arrangement, like our arrangement of Brahms's Opus 23 for the same instrumentation, is to create a chamber music version of some wonderful music combining much of the lightness of the piano version with a WW4’s contrasting and beautiful sonorities. Much of the piano part is drawn directly from Brahms’s piano parts. The wind parts, of course, draw mostly on the orchestral version, but with nowhere near as much doubling.  —adapted from JWP’s © foreword to the edition)

Score, 44 pages; Parts, 9 pages each; Total, 86 pages.