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Uncommon Sheet Music for Flute and Alto Flute

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Wind Ensembles

bach wtc 1 22 ww5.image 240pxPrelude and Fugue, WTC Book I, No.22, by J.S.Bach

Transcribed for Woodwind Quintet by John W. Pratt, PDF $16.00

Though written for keyboard, this Prelude and Fugue from Book I of Bach's Well-Tempered Clavier is wonderfully adaptable to an instrumental quintet.  The Prelude, with its serene harmonic pacing, reveals an almost Schubertian sublime beauty, and the magical counterpoint of the five-part fugue emerges crystal-clear.  The challenge for the players, as well as the pleasure, lies in ensemble achievements, not technical difficulties in individual parts.  Scored for Flute, Oboe, B-flat Clarinet, Horn, and Bassoon, with an alternate part for Alto Flute in place of Oboe.  

Score, 6 pages; Parts, 2 pages each for Flute, Oboe (plus alternate Alto Flute), Clarinet, Horn, and Bassoon; Total, 20 pages.

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Bach BWV532 WW4 nsmPrelude and Fugue, BWV 532, by J. S. Bach

Arranged for Woodwind Quartet by John W. Pratt

Score and Parts, PDF $15.97

“Among the big Bach organ fugues, BWV 532 is unusually well suited to woodwind quartet.  Written during Bach's early, carefree Weimar period (only four children to support), it is high-spirited and can even be read as witty.  It benefits from having a separate sonority for each voice, especially when the countersubject interjects a perky comment in the subject's empty space.  It has rapid passage work throughout, almost suggesting Mendelssohn—but his chamber music, not his organ music!  It makes almost no significant use of the sheer power of the mighty “king of instruments”; the way the voices are brought in and deployed in itself provides the excitement and variations in volume.  Woodwinds have ample piano and forte capabilities for the purpose.  The Prelude is also readily adapted to woodwind quartet, consisting mainly of a straightforward four-part Alla breve. The Prelude’s brief introductory and concluding material includes pedal scales and other flourishes that are no less effective for being easy to play on winds. // The arrangement here preserves Bach's four voices almost exactly.” — from J. W. Pratt’s foreword to the edition

Click to listen to computer-generated audio samples from the score; audio clips from the Prelude (m4-22) and the Fugue (m14-27), are separated by a brief pause. 

Score, 16 pages; Flute part, 5 pages; Oboe part, 6 pages; Bb Clarinet part, 6 pages; Bassoon part, 5 pages;Total, 46 pages.

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bach bwv564 nsmToccata, Adagio, and Fugue in C major, BWV 564, by J. S. Bach

Arranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, Clarinet, & Bassoon, PDF $21.25

excerpted from JWP’s © foreword to the edition:
Among J. S. Bach's big organ works, the Toccata, Adagio, and Fugue, BWV 564 is atypical in ways that make it unusually well suited to transcription for woodwind quartet.  Unlike most, it has a middle movement, an Adagio with an elaborate and gorgeous melody which lies comfortably for flute and can benefit greatly from the shaded, nuanced dynamics and articulations that a solo flutist can provide.  The other winds bring out Bach's beautiful voice-leading in the Adagio's two inner parts and its marching but not martial bass.  The four-part Fugue is unusual, too—light and lighthearted, happily adaptable to woodwinds, with no call for great power and, rather than a climactic ending, a fading coda that defies convincing treatment on the organ. The exuberant Toccata starts with an extended manual solo passage ... mostly in 32nd notes, which ... I felt it would be more effective as a game of frequent handoffs between instruments than as a series of longer individual études. The pedal solo, mostly 16ths, calls for the extra weight of doubling.

Click to listen to a computer-generated audio sample from the end of the Toccata into the beginning of the Adagio.

Score, 17 pages; Flute part, 6 pages; Oboe part, 5 pages; Bb Clarinet part, 5 pages; Bassoon part, 4 pages; Total, 46 pages.

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Bartok ForChildren Bk2 fl cl nsmFor Children, by Béla Bartók

Selected Pieces arranged as Duos or Trios for Winds by John W. Pratt

extracted from the preface: Béla Bartók was not only a major composer in a post-Romantic extended tonal style, but he was also a superb pianist with a precise technique, a scholarly explorer of folk music, and a serious pedagog. Folk melodies and harmonies strongly influenced his music, both indirectly and often directly, including many of his orchestral and chamber works, as well as solo piano pieces ranging in difficulty from easy to virtuosic. His For Children (Gyermekeknek, 1908-1909, Sz. 42) was written for solo piano, and the original Books 1 and 2 contained 42 pieces after Hungarian folksongs and 43 pieces after Slovakian folksongs, respectively. Besides the usual purposes of music written for children, Bartók sought to broaden their musical experience with, for instance, modal and other scales, and harmonies outside the traditional western canon. For Children is by no means pablum; though the notes may be easy to play, these pieces have a lot else to offer. They were written when Bartók’s folksong research was well under way and his notational efforts at their peak. Students, teachers, and every-day players can make as much of them as they like ... as simple tunes for beginners content to learn basic notes and rhythms, or as more advanced studies on articulation, musicality, etc. 

John Pratt is in the process of arranging Bartók’s For Children for various wind duo and trio combinations.  More editions will be added as they become available (all as downloadable PDFs).  Note that each edition is organized for convenient page turns, if printed two-sided in its entirety.  Click the edition you want to purchase in the table below and Add to Cart.

 

► Bartók - For Children, Book 1 - arr. for Flute (or Oboe) and Bb Clarinet - PDF $14.75
Bartok ForChildren Bk1 fl cl nsmMany of the For Children folksongs are entirely or mostly for two voices, like Bach’s two-part inventions in style if not structure or harmony, and thus convenient for wind duo and no more childish for Bartók than Bach. Many others are also adaptable to flute or oboe and clarinet or bassoon, mostly by spreading the left-hand chords in time. This edition includes 25 pieces from Book 1 (after Hungarian folksongs) arranged as duets; all of them can be played by clarinet and either flute or oboe, but we also include alternative versions with octave changes that are better suited to oboe for six of the pieces. We provide a score, but not separate parts, as both players can easily play off copies of the score. Click to listen to computer-generated audio samples from the score; audio clips of #11 Me and the Rain with flute and clarinet and #32 Wedding Day and Night with oboe and clarinet are separated by a brief pause. 

 

 

Score, 26 pages; Total, 30 pages. Preview: Book 1, Flute (or Oboe) and Clarinet

 

► Bartók - For Children, Book 1 - arr. for Oboe (or Flute) and Bassoon - PDF $14.75

Bartok ForChildrenBk1 ob bn nsmPlease see the information provided under "Book 1 - arr. for Flute (or Oboe) and Bb Clarinet", since much of it applies here as well. Our oboe (or flute) and bassoon edition includes the same 25 pieces from Book 1 (after Hungarian folksongs) arranged and optimized as duets for oboe and bassoon, with alternative versions better suited for flute and bassoon provided for two of the pieces. Players can easily read off copies of the score, so separate parts are not provided.

Score, 21 pages; Total, 24 pages. Preview: Book 1, Oboe (or Flute) and Bassoon

 

► Bartók - For Children, Book 2 - arr. for Flute (or Oboe) and Bb Clarinet - PDF $12.75

Bartok ForChildren Bk2 fl cl nsmAs noted above, many of the For Children folksongs are entirely or mostly for two voices, and many others are also adaptable to flute or oboe and clarinet or bassoon. This edition for flute (or oboe) and clarinet includes 23 pieces from Book 2 (after Slovakian folksongs) arranged as duets; all of them can be played by clarinet and either flute or oboe, but we also include alternative versions that are more suitable for oboe for three of the pieces. We provide a score, but not separate parts, as both players can easily play off copies of the score.

Score, 17 pages; Total, 22 pages. Preview: Book 2, Flute (or Oboe) and Clarinet

 

► Bartók - For Children, Book 2 - arr. for Oboe (or Flute) and Bassoon - PDF $12.75

Bartok ForChildrenBk2 ob bn nsmPlease see the information provided under "Book 2 - arr. for Flute (or Oboe) and Bb Clarinet", since much of that applies here as well. The oboe (or flute) and bassoon edition includes the same 23 pieces from Book 2 (after Slovakian folksongs), here arranged and optimized as duets for oboe and bassoon, with an alternative version better suited for flute for one of the pieces. The score can easily be used by both players, so no separate parts are provided.

Score, 15 pages; Total, 18 pages. Preview: Book 2, Oboe (or Flute) and Bassoon

 

Add To Cart Product Name Price
Bartók - For Children, Book 1 - arr. for Flute (or Oboe) and Clarinet
$14.75
Bartók - For Children, Book 1 - arr. for Oboe (or Flute) and Bassoon
$14.75
Bartók - For Children, Book 2 - arr. for Flute (or Oboe) and Clarinet
$12.75
Bartók - For Children, Book 2 - arr. for Oboe (or Flute) and Bassoon
$12.75

BauerOp22 sax nsmSonata, Op.22, by Marion Bauer

Transcribed for Alto Saxophone (and piano) by Paul Cohen (originally for viola and piano)

Alto Saxophone Part, PDF $11.79

Paul Cohen is one of America's most sought-after saxophonists for orchestral and chamber concerts and solo recitals.  In addition to being a renowned performer and recording artist, he is also a talented arranger, lecturer, and collector of rare and historical instruments.  Dr. Cohen holds MM and DMA degrees from the Manhattan School of Music; he currently serves on the faculties of the Manhattan School of Music and Rutgers University.  We at NSM were pleased for the opportunity to collaborate with him on this publication of his transcription of Marion Bauer’s Sonata for alto saxophone.

from Dr. Paul Cohen’s preface to the NSM edition © April 7, 2021: 

“Bauer composed this sonata in 1932 or 1935.  It originally was written for viola, and dedicated to the memory of her friend and colleague, Albert Stoessel who was a distinguished American violinist, conductor, author, composer, and educator in the 20th century.  Bauer soon after created her own idiomatic transcription for clarinet and piano, and the sonata was published as a work for viola or clarinet in 1951.  It is revealing to see the differences in the viola and clarinet versions.  The piano part remains unchanged in both.

PC photo cropped 100 webThere is a history of music for viola successfully adapted for saxophone by the composers.  Fernande Decruck’s Sonata (1943) for saxophone and piano (or orchestra) was originally written for viola, as was Ross Lee Finney’s Sonata in A Minor from 1937 (viola and piano), adapted for saxophone in the early 1970s.  Several works for alto saxophone and orchestra written for the American saxophonist Elise Hall were originally written for viola, including Florent Schmitt’s Legende (1918) and Choral Variee´ (1903) by Vincent D’Indy. Adolph Busch composed his Suite for violin and either viola or alto saxophone in 1926, while in 1923 Darius Milhaud replaced the viola with the saxophone in La Creation du Monde literally positioning the saxophone in the viola chair in the string section.  My saxophone adaptation of Bauer’s Sonata combines elements of the clarinet and viola versions, creating a version appropriate for the alto saxophone.  This includes changes in range, articulation, phrasing and dynamics to create an idiomatic (though challenging) version for the alto saxophone faithful to the musical intent of the composer.”

For additional information about Marion Bauer, please see the text excerpted from Peter H. Bloom’s preface to NSM’s 2014 publication of his transcription of the Sonata for alto flute.

We provide only the transcribed alto saxophone part in our edition; a pdf of the piano score is available from imslp.org.

Alto Saxophone Part, 11 pages; Total, 14 pages

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