The Golden "Reade" Flute, by Eugene A. Dieter
Flute Part and Piano Score ― PDF $7.99
Elmer Reade (1898-1986), to whom The Golden "Reade" Flute is dedicated, served a long and distinguished career, first as a flutist with the U.S. Army Band and then as a conductor and music director of the Air Force Band at Mitchell Field, New York. Eugene A. Dieter graduated from the first class of the US Army Music School in 1941 and was appointed a bandmaster. Following the Second World War, Dieter accepted a bandmaster position with the Air Force Band and remained active until his retirement in 1966. Likely, it was as an Air Force band colleague of Elmer Reade's that Dieter was inspired to compose The Golden "Reade" Flute. (excerpted from the foreword © by P. H. Bloom)
Not at all militaristic in character, The Golden "Reade" Flute is more a lovely barcarole, a single Andante moderato movement in 6/8 time. It offers interesting writing for both parts, so flutist and pianist will be equally pleased. The title refers to the gold flute by William S. Haynes upon which Reade regularly performed.
Piano score, 4 pages; Flute part, 2 pages.Preview
Kleemation, by Elizabeth Vercoe
Original Composition for Flute and Piano
Flute Part and Piano Score, PDF $16.95
Kleemation for flute and piano is in five short movements based on five drawings by Paul Klee titled: Goodbye to You, Please!, Afraid on the Beach, More Will Be Marching Soon, and Woman Sowing Weeds. Described as "highly abstract yet accessible," the piece was commissioned by Austin Peay University in Tennessee and received its premiere there in 2003. The New England premiere was at the Duxbury Art Museum in 2004 by the duo "2" (flutist Peter H. Bloom and pianist Mary Jane Rupert). "2" has since performed the piece on tours in the U.S., Thailand, Australia, and New Zealand. Click to read a testimonial to Elizabeth Vercoe's composition Kleemation written by Mr. Bloom.
Kleemation was recorded by "2" and can be heard on the PARMA Recordings all-Vercoe CD entitled Kleemation and Other Works by Elizabeth Vercoe. In an IAWM Journal CD review Dr. Laura G. Kafkawrites: “Vercoe musically renders Klee’s drawings with all the humor, fear, and reality that make each one leap from its canvas and dance.” Click to read Dr. Kafka’s full review. In another review published by Audiophile Audition magazine on September 26, 2013, Lee Passarella writes: "Vercoe (b. 1941) also shows a willingness to adapt different musical styles and elements to her basic idiom: the essential atonality of her music is leavened with some well-chosen pop influences where appropriate to the subject matter at hand. That includes Kleemation, a work based on drawings by Swiss modernist painter Paul Klee. Klee's sometimes whimsical, sometimes troubling art turns for its inspiration to the uninhibited world of the child artist."
Listen to an audio sample of Kleemationfrom the opening of the title piece.
Piano score, 27 pages; Flute part, 11 pages; Total, 44 pages; PDF $16.95.Preview
For those who would prefer to purchase a printed hard copy of this piece, rather than the PDF download offered here, our print edition of Kleemation for Flute and Piano by Elizabeth Vercoe is availabledirectly from NSM for $26.99 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.
Old Folks at Home and Oh! Susanna, by Stephen Foster
Arranged with Flute and Cello ad lib by John W. Pratt
Flute Parts, Cello Parts, Voice Parts, and Piano Scores ― PDF $7.99
The following excerpts are taken from John W. Pratt's foreword to the edition:
When a Golden Oldie comes to mind, Doo-dah! Doo-dah!
Comic, sad, or any kind, Oh! Doo-dah-day!
Jeanie, Swanee, Kentucky, Joe, Doo-dah! Doo-dah!
Beautiful, dreamy, fast, or slow, Oh! Doo-dah-day!
I'll bet I know who wrote it, he wrote them night and day,
Stephen Foster wrote it, he'll never go away.
Stephen Foster was born in Lawrenceville, Pa., on July 4, 1826...He wrote over 200 songs, including 135 parlor songs, 28 minstrel songs, and 21 hymns and Sunday school songs. A remarkable number are memorable, as the ditty above will attest to anyone with anything like my background. One wonders why. The harmonies and rhythms are basic, as are the forms and rhyme schemes (see above), the music is repetitious, and the vocal range rarely goes outside an octave (a great benefit for community singing). Yet the fit is so natural and the pacing so well judged that the songs are ideally effective and diabolically catchy. Foster is perhaps, though on a different plane, the Mozart of his field...
For a pianist playing several stanzas at a sing-along, Foster's songs do become a little dull. But their very simplicity, repetitiousness, and familiarity abet variation as, again on a different plane, chorales serve Bach chorale preludes. Like chorale preludes, the piano parts here always incorporate the melody, so they can be played solo or to accompany amateur singers. It struck me that they could be enhanced by optional flute parts. After writing them, I discovered that, according to his brother Morrison, Foster himself "delighted in playing accompaniments on the flute...As the song went on he would improvise...the most beautiful variations upon its musical theme." If Foster's improvisations were like the one his brother published, however, they just varied the melody itself in the manner of the period. My game is more ambitious, as you will easily see. I added optional cello parts, mostly for color, as in the Haydn trios but superficially more interesting for the cellist. (Again we are on a different plane, of course.)
"Oh! Susanna," one of the best-known American songs by anybody, is Foster's "Erlkönig." (Speak of different planes!) With its nonsensical lyrics and polka beat, it is clearly comical, and I treated it accordingly. It was written in Cincinnati, possibly for a social club, first performed at an ice cream saloon in Pittsburgh in 1847, and published in 1848. When no American song had sold over 5,000 copies, it sold over 100,000. It earned Foster only $100, but its popularity led to a publisher's offer, convincing him to become a professional songwriter, America's first.
"Old Folks at Home" established Foster as a truly American composer. It was written in 1851 for a blackface troupe whose leader paid Foster about $15 to be credited for it. When almost finished, Foster asked his brother for "a good name of two syllables for a Southern river." He rejected Yazoo and Pedee, but was delighted with Swanee, a shortening of Suwanee, a small river in Florida which his brother found in an atlas. Though about a slave's nostalgia for home, I find its theme universal and melancholy and I resisted the temptation to jazz it up. Please try, at least, a slowish tempo.
― John W. Pratt, May 27, 2013 ©
Flute parts, 2 pages; Cello parts, 2 pages; Voice parts, 2 pages; Scores, 7 pages; Total, 18 pages.Preview
Woodwind Duos, by Elizabeth Vercoe
Original Compositions for 2 Flutes, 2 Oboes, or 2 Clarinets, $0.00 (free!)
Elizabeth Vercoe's Duos for woodwinds are available as free downloads from the composer's own website at http://www.elizabethvercoe.com/. Dr. Vercoe kindly offered to allow Noteworthy Sheet Music, LLC to make these duets available from our website as well.
The Duos, in versions for two flutes, two oboes, or two clarinets, are "fun and quite easy. They are suitable for intermediate students."
Photo of Elizabeth Vercoe courtesy of Caroline Alden.
Just click on the links below to download the Duos at no charge; each PDF includes all 5 short duets:Duos for 2 Flutes
Duos for 2 Oboes
Duos for 2 Clarinets
Duos, by Elizabeth Vercoe
Original Compositions for 2 Flutes, $0.00 (free!)
Elizabeth Vercoe's Duos for two flutes are available as free downloads from the composer's own website at http://www.elizabethvercoe.com/. Dr. Vercoe kindly offered to allow Noteworthy Sheet Music, LLC to make these duets available from our website as well. The Duos are "fun and quite easy. They are suitable for intermediate students."
Photo of Elizabeth Vercoe courtesy of Caroline Alden.
Just click on the links below to download the Duos at no charge:Duos 1-5 for 2 flutes
From the Drawer, for Voice and Saxophones, by Peter H. Bloom
Contemporary Composition for Tenor or Soprano, with Saxophone Quartet
Score and Parts, PDF $13.99
Boston-based flutist Peter H. Bloom created two versions of his composition From the Drawer, the edition listed here for Tenor or Soprano with Saxophone Quartet (soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone) and a second edition for Tenor or Soprano with Flute (doubling Piccolo), Clarinet, Bassoon, and Horn; both editions have been published by Noteworthy Sheet Music. The score provides a musical setting for the intensely emotional poem by Constantine Cavafy. The composer suggests that the vocalist (depending on his or her performance style/background/aesthetic judgment) should free to employ amplification at his/her discretion.
Here are Mr. Bloom's comments about From the Drawer, taken from his preface (Copyright © 2015) to the edition:
"Constantine Cavafy’s 1923 poem, From the Drawer, captures the acerbic condition of longing, the impossibly private nature of affection, and the occultation of time. Its poignancy is universal; transcending gender, age, era, place, and even translation. Rather than rely on one particular translation of Cavafy’s text, I’ve drawn on a number of versions to arrive at a paraphrase that both informs and is shaped by the musical score.
The musical setting is a sonic image of the intensely emotional response to a flood of memory that informs the poet’s narrative: now pensive, now anxious, now wistful, now joyous, now fraught, now resigned, and ever mercurial." P. H. Bloom, September 19, 2015
Score, 14 pages; Tenor or Soprano part, 2 pages; Soprano Saxophone part, 4 pages; Alto Saxophone part, 3 pages; Tenor Saxophone part, 3 pages; Baritone Saxophone part, 3 pages; Total, 29 pages.Preview
We also offer a professionally-printed hard copy edition of From the Drawer for $23.78 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.
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.Preview
3 Compositions, Op.40, by Amy Beach
Transcribed for Alto Flute and Piano by C.A.Vater
Piano Score and Alto Flute Part, PDF $10.50
Amy Marcy Cheney was born in Henniker, New Hampshire in 1867 and began composing music at the age of four. Initially home-schooled as a pianist, she continued her music studies in Boston and made her professional debut as a pianist at age 16. She later became a soloist with the Boston Symphony Orchestra. At 18, she married the prominent Boston physician Dr. Henry Harris Aubrey Beach and began using "Mrs. H. H. A. Beach" as her professional name. She continued to perform occasionally as a pianist, but for many years she focused her musical skills primarily on composing. After her husband's death in 1910, Mrs. Beach resumed her performing career, beginning with a three year tour of Europe, while also continuing to write music. Her works were received with great acclaim, and Amy Beach became one of America's leading composers and the first American woman composer to achieve widespread recognition in the United States and abroad. During her lifetime, she wrote more than 150 numbered works, spanning a variety of genres that included piano pieces, chamber music, orchestral works, sacred choral music, and a great many songs.
Amy Beach's 3 Compositions for Violin and Piano, Op.40, were first published in 1898. Written in the romantic style, the three pieces are (1) the beautiful but sombre La Captive, (2) a lovely, lyrical Berceuse, and (3) a lively but still tender Mazurka. In addition to alto flute transcriptions of all three pieces, we include in our edition a version of the Mazurka transcribed for flute and piano (score and part), for those wishing to give this option a try as well.
Alto Flute part, 4 pages; Piano/Alto Flute Score, 10 pages;
Alternate "Mazurka" Flute part, 2 pages; "Mazurka" Piano/Flute Score, 5 pages;
Total, 29 pages.Preview
Sonata, Op.22, by Marion Bauer
Transcribed for Alto Flute by Peter H. Bloom (originally for viola)
Alto Flute Part, PDF $11.79
The following notes are excerpted, with permission, from the complete copyrighted foreword written by Peter H. Bloom for the Noteworthy Sheet Music edition of his transcription:
"The career of Marion Eugenie Bauer (1882-1955) as a composer, editor, writer, teacher, supportive colleague and mentor continues to assert a significant impact on the trajectory of American Music. It's mysterious that her legacy has been so rarely recalled and her music so infrequently performed in the six decades following her death. ... In 1906 she was the first of generations of American composers to study in Paris with the redoubtable Nadia Boulanger. ... We're fortunate that the composer crafted her own superb transcription of this sonata for clarinet and piano. In order to achieve the equivalent musical impact, her viola and clarinet versions differ in some places. The piano part, nevertheless, remains unchanged. Sometimes we've opted for the clarinet version, sometimes the viola version, and sometimes a conflation of the two. We have also made a few adaptive changes in tessitura, articulation, phrasing and dynamics to highlight the unique voice of the alto flute. Though execution may occasionally differ, the rhetorical and emotional shape of the work remains essentially the same."
P. H. Bloom, © January 7, 2014
We provide our alto flute transcription; the piano part is readily available as a free pdf download of the score from sources such as imslp.org/.
Alto Flute part, 9 pages of music; Total, 12 pages.Preview
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.Preview
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.
Seven Rants, by Peter Van Zandt Lane
Contemporary Composition for Flute, Oboe, Clarinet, Horn, Bassoon, and Piano, PDF $0.00
Peter Van Zandt Lane was commissioned to compose this piece for the 67th Composers Conference and Chamber Music Workshop at Wellesley College, which took place in the summer of 2011. The annual Conference is a wonderful two-week event, which brings together prominent young composers, superb professional musicians, dedicated amateur chamber musicians, and enthusiastic listeners. The professional musicians premiere the composers' new works and also coach the amateur musicians in chamber ensembles. Concerts are free and open to the public. For more information on the program, please visit the Composers Conference website.
After the Conference each year, one of the composer fellows is selected to create a new work for the next year's chamber music workshop participants. That composer returns the following summer to coach two groups of players on the new composition, in preparation for performances in the Saturday evening concerts of Week I and Week II. Peter Van Zandt Lane's Seven Rants was an enormous success in 2011, absolutely loved by the players and received exceptionally well by the audience. Written for flute, oboe, clarinet, horn, bassoon, and piano, Seven Rants is a series of seven delightful and diverse movements. The first and last movements are strict palindromes. The five middle movements or "rants" are "mini-concertos", each highlighting a different wind instrument. Great fun to play, and highly accessible.
With permission from both the composer and the Wellesley Composers Conference and Chamber Music Center, Noteworthy Sheet Music is thrilled to offer our customers a free PDF download of Seven Rants by Peter Van Zandt Lane. And please check out more of this terrific young composer's work, including two other listings in the NSM catalog, Danzas Mecánicas and Transverse Fractures.
Score, 37 pages: Flute part, 10 pages; Oboe part, 9 pages; Clarinet part, 10 pages; Horn part, 9 pages; Bassoon part, 9 pages; Piano part, 15 pages; Total, 103 pages.
Southland Sketches, Nos. I, III, IV, by H. T. Burleigh
Transcribed for Alto Flute or Flute (and piano) by C. A. Vater
Alto Flute part and Flute part, PDF $9.96
Harry Thacker Burleigh was an acclaimed African-American singer, music editor, and composer whose adaptations of African-American spirituals became famous. His Southland Sketches, which were composed for violin and piano and published by G. Ricordi in 1916, are a fine example of Burleigh’s quintessential American style. The original composition included 4 movements. Our edition excludes the second movement, but adapts three of the original four miniatures for either alto flute or flute. We provide only the transcribed alto flute and flute parts, as they have been designed to work well with the piano part in the original score for violin and piano which is available as a good quality, free pdf download from imslp.org. Performers may choose to play all three of these pieces on either flute or alto flute, or switch instruments between sketches, depending on personal preference.
Alto Flute part, 6 pages; alternate Flute part, 6 pages; Total,18 pages. (pdf of piano accompaniment is freely available at imslp.org)Preview
5 Dessert Rounds, by Zenon Slawinski
Contemporary Composition for Two Flutes
Score, PDF $4.99
Excerpts from the preface to the edition by Zenon Slawinski:
In most classic rounds the second voice begins and plays (or sings) the same melody as the first voice. That's the case here too for three of the five Dessert Rounds. Rounds 3 and 4 are different. In Round 3 - The Chocolate Chocolate Chip Cookie - the second voice plays the same melody but a third higher. In Round 4 - Sweet Potato Flan - the second voice plays the melody a 4th higher. // The Dessert Rounds are relatively simple and should not pose any difficulties for most intermediate players, although there are some tricky meter changes in Round 2 - Chocolate Mint Ice Dream - if you practice this slowly you'll soon be able to get past the meter changes and simply enjoy your dessert. // Round 4 - Sweet Potato Flan - is written in 7/4. // I purposely left off many performance markings so the players can make their own mark on the compositions. Interpret these pieces freely and have fun.
Zenon Slawinski, September 12, 2014
Click to listen to a few audio samples of the Dessert Rounds:
Score for two flutes, 6 pages; Total, 10 pages.Preview
Not-Pooh Songs, by Tom Schnauber
For Female Voice and Flute or Female Voice and Oboe, 2 editions
Score for Female Voice and Flute, PDF $18.46
Score for Female Voice and Oboe, PDF $18.46
Tom Schnauber’s Not-Pooh Songs are absolutely delightful. The composer has set to music six children’s poems by A. A. Milne, four from When We Were Very Very Young (“The Alchemist”, “The Mirror”, “The Four Friends”, and “If I Were King”) and two from Now We Are Six ("The Charcoal Burner" and "The Engineer"). The work is offered by Noteworthy Sheet Music, LLC in two publications, one for female voice and flute, the other for female voice and oboe. The oboe line is sufficiently different from the flute line in terms of register to warrant it being published as a separate edition (i.e., the flute version makes use of that instrument’s wider range by putting some material in higher octaves). Also, the flute edition includes an alternate variation of “The Mirror” for voice and alto flute, whereas the oboe edition includes an alternate variation of “The Mirror” for voice and English horn.
It’s clear from hearing this music that Schnauber gets a real kick out of Milne’s poetry. The flute/oboe comments, echoes, etc. go with or against the voice line very effectively and entertainingly. These songs will have broad appeal to both players and audiences, and there’s a lot that a pair of performers could do with them. The music isn’t easy, but provides just the sort of challenges that the adventuresome player loves; in places, for example, the flute jumps from C7 to C4, plays multiphonics, and executes finger snaps. But, as the composer has pointed out, just because the music is somewhat demanding doesn’t mean that it should be presented seriously in performance; on the contrary, players should have fun with these pieces and convey the intended joy and playfulness of the work.
Note that both performers are to play from the score, so flutists and oboists may want to print their copy of the score single-sided to avoid a few difficult page turns.
To listen to a recording of Not-Pooh Songsperformed by Mitsi Westra, voice, and Pamela French, oboe, visit Tom Schnauber’s SoundCloud page at https://soundcloud.com/user-557772917/sets/not-pooh-songs.
► Schnauber - Not-Pooh Songs - Voice and Flute - PDF
Score for female voice and flute, 22 pages; Lyrics, 2 pages; Total, 28 pages.
► Schnauber - Not-Pooh Songs - Voice and Oboe - PDF
Score for female voice and oboe, 22 pages; Lyrics, 2 pages; Total 28 pages
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Fog, by Li Qi
Contemporary Composition for Solo Flute, PDF $5.99
Fog was written in 2012 by the up-and-coming young composer Li Qi. In addition to receiving other projects and awards, Li Qi was selected by the Wellesley Chamber Music Workshop to compose the program's commissioned piece for 2016, An Autumn Dusk in the Mountains for flute1, flute2/alto flute, cello, and piano.
Short, interesting, and challenging, Fog will appeal to advanced flutists and their audiences. Inspired by the poem "Stray Birds" by Rabindranath Tagore, the piece strives to capture in a musical way the recurring interplay between fog and sunlight, as a representation of the circle of life with all its sorrow, joy, and continuously-unfolding beauty. A recording of a 2012 performance of Fog by Heath White at the Jacobs School of Music, Indiana University, has been posted on YouTube; please click the link to listen.
Our front cover image is from Wikimedia Commons: "The Mount Emei" by pookieevans (CC BY-SA 2.0).
Flute part, 3 pages; Total, 7 pages.
Cookies, by Zenon Slawinski
Contemporary Composition for Flute and Piano
Flute Part and Piano Score, PDF $24.50
From the preface by Zenon Slawinski:
The Cookies came about because my wife and I had been exploring the various compositions and arrangements available for flute and piano and I felt that we needed something new for our time and our audience. We live in a constantly changing world yet we love to hang our hat on the past, especially when it comes to music. I wanted to create a set of pieces that would not only be enjoyable for the listener but provide the players with a high level of satisfaction.
These pieces range in difficulty from the rather simple and easy to play (Cookies 1, 2, 4, 7), to the intermediate (Cookies 5, 8, 9, 11), and to the more challenging (Cookies 3, 6, 10, 12).
A special note about Cookie No. 5. This piece was influenced by the Jazz tunes in the popular series of Real Books which follow a common practice in today's "chart" or "lead sheets" where the melody line is written out and chords are marked for the accompaniment to play. This gives a lot of freedom initially to the piano. As the flutists becomes more familiar with their part, I would encourage them to get off the page and try some of their own lines.
I purposely gave few performance markings so that players can create their own. Interpret these freely and have fun.
Zenon Slawinski, September 17, 2014
You may listen to some short audio samples of the Cookies, recorded on the composer’s Yamaha MOTIF ES with the sampled piano and flute sounds found in the instrument.
Customers who purchase the sheet music to Cookies are entitled to free rehearsal mp3’s of the piano tracks with which the flutist may play along.
Cookie 9 is a flute solo; the piano is tacet.
For those who would prefer to buy a subset of the Cookies, rather than all 12, we offer three smaller editions:
Cookies 1,2,4,7: Piano Score, 15 pages; Flute part, 5 pages; Total 24 pages; PDF Price $9.45
Cookies 5,8,9,11: Piano Score, 15 pages; Flute part, 7 pages; Total 28 pages; PDF Price $9.45
Cookies 3,6,10,12: Piano Score, 30 pages; Flute part, 9 pages; Total 42 pages; PDF Price $18.90
US customers may purchase professionally-printed hard copies of the complete edition of Cookies for $41.65 plus shipping and handling. Please use the Contact Us form to let us know which sheet music you would like to purchase, along with your contact information and your USPO mailing address.
Bagette no. 4, by Zenon Slawinski
Contemporary Composition for Flute and Piano
Flute Part and Piano Score, PDF $16.99
Zenon Slawinski studied music theory and composition at the University of Michigan with Leslie Bassett, William Bolcom, and William Albright. He also studied Campanology with Hudson Ladd. After graduating with honors he pursued a career in both music and graphic design. Mr. Slawinski was co-music director for the Peabody and Ohio State award winning Children's Radio Theatre program, and scored numerous independent and industrial films and films for the Smithsonian Institution that aired at Smithsonian museums and on PBS. He wrote the music to the popular political talk show The John McLaughlin Group. Mr. Slawinski was a founding partner of a multimedia production company and recording studio working in the early interactive days on educational and entertainment music projects in the CDi and CD-ROM formats, many of which won numerous awards. For more details of Zenon Slawinski's biography, please see the Composers section of the NSM website.
Bagette no. 4 is from a set of four Bagettes written by Zenon Slawinski for his flutist wife, for the two of them to play together. The piece showcases the flute and has challenging moments for both players throughout. The spelling of "bagette" is intentional. The piece opens and closes with a quick ostinato in ¾ in the piano part that lays the foundation for the feel of the entire Bagette. The second section is more pensive and contemplative, with the piano taking the lead initially. The next section is bold and in a new key - B major - and here the flute and piano engage in a playful interaction. The composer intends for the players to put their own spin on the piece and interpret the music freely.
You may also listen to audio of the piece, recorded on the composer's Yamaha MOTIF ES with the sampled piano and flute sounds found in the instrument. Click to listen
Customers who purchase the sheet music to Bagette no. 4 are entitled to a free rehearsal mp3 of the piano track with which the flutist can play along.
Piano score, 15 pages; Flute part, 7 pages; Total, 26 pages.Preview
Muriel, by Edward G. Vater
Contemporary Ballad for Voice with Piano or Guitar Accompaniment
Edward G. Vater (1923-2018), my dad, was quite a remarkable man. A lifelong-resident of New Britain, CT, he was an educator by profession, and served many years as a school teacher and later as a college administrator. But he had numerous, diverse interests and took on many challenges over the years, including raising three children with his loving wife Anne (Mickey) Siton Vater, building a house, studying the Russian language, teaching English to Russian immigrants, working as a tool and die maker summers to support his young family, and serving his community in various roles such as Democratic Town Committee member, Justice of the Peace, and Chairman of the Public Works Department, to name a few. Displaying a life-long love of music, he was heavily involved in school music programs as a child, and loved to sing and play saxophone and clarinet. He played alto saxophone in dance bands during his stint in the U.S. Army Aircorps in England during WWII and stateside after returning home, often in groups with his two brothers, Al and Bob. He sang and played his horn most days, still infusing his music with tenderness and passion, until a couple weeks before his death in April, 2018.
At age 93 and dealing with metastatic melanoma but still independent, Ed moved into an apartment in Arbor Rose, an independent-assisted living facility. Upon hearing him sing his song Muriel, Denise Lebrocquy, one of the administrators there, arranged to take Ed to a professional music studio* to make a recording of him singing the tune, for which he had written the music and lyrics. This was a beautiful and uplifting experience for him, and one for which I too am very grateful. The audio file may be heard by clicking the mp3 link below. John Pratt, Jerry Gleason, and I entered the melody, chords, and lyrics for Muriel into a music notation software program for publication of the lead sheet on NSM, so we can share my dad’s moving love-song with our website visitors and pay tribute to a wonderful man and a life well-lived.
―Carol A. Vater, December 21, 2016
Ed Vater passed away on April 18, 2018; he would have turned 95 that June.
*Matt Berky, Massive Productions, LLC, Rocky Hill, CT http://massiveproductions.com/
Ed Vater wished to give thanks and dedicate his song Muriel to the Jerome Home/Arbor Rose health complex at 975 Corbin Avenue, New Britain, CT, and to health care providers everywhere.
We're making Muriel (Copyright © 2016 by Edward G. Vater) available free of charge, with the understanding that the song writer will be publicly credited upon any performance or other use of his song, and with the suggestion that donations be made to the Melanoma Research Alliance in support of finding a cure. Click to download a PDF of the NSM edition of the Muriel lead sheet or to listen to the Muriel audio recording.
Ecstasy, Op.19 No.2, by Mrs. H. H. A. Beach
Two versions, for "Low voice (in Db)" or "High voice (in Eb)", with Alto Flute Obbligato (transcribed) and Piano.
Alternative parts for Alto Flute Solo and Bb Clarinet Obbligato.
Program Notes by Peter H. Bloom.
Piano Scores, Voice Parts, Alto Flute Obbligato Parts, and alternative Alto Flute Solo Parts and Clarinet Obbligato Parts; PDF $8.99
Noteworthy Sheet Music is thrilled to publish our edition of Amy Marcy Cheney Beach's song Ecstasy in 2017, in celebration of the 150th anniversary of the composer's birth. The idea to make Ecstasy available to a broader combination of players and singers came from flutist Peter H. Bloom, who proposed that the piece would be an excellent vehicle with which instructors might inform students (early and advanced alike) about interpretation of the highly romantic late 19th century idiom. To that end, we have packaged together in a single edition Mrs. H. H. A. Beach's two versions of Ecstasy, for "low voice (in Db)" and "high voice (in Eb)", with each version including transcriptions of the obbligato (originally for violin) for either alto flute in G or clarinet in Bb, and an alternative solo part in the form of an alto flute transcription of the voice line. Thus, multiple performance variations are possible, including high or low voice and piano with either alto flute or clarinet obbligato, or fully instrumental versions for alto flute and piano, or two alto flutes and piano, or alto flute, clarinet, and piano.
Scores, 8 pages (4 pages each version); Voice parts, 2 pages (1 page each version); Alto Flute Obbligatos, 2 pages (1 page each version); Clarinet Obbligatos, 2 pages (1 page each version); Alto Flute solo parts, 2 pages (1 page each version); Total, 20 pages.Preview
Butterfly Effects, by Elizabeth Vercoe
Contemporary Composition for Flute(s) and Harp
Flute Part and Harp Score, PDF $26.99
Butterfly Effects is an intriguing and varied piece in seven sections for flute and harp in which the flutist is asked to play bass, alto, piccolo and concert flutes. The titles are the names of butterflies: Mourningcloak, Banded Blue Pierrot, Common Jezebel, Question Mark, Monkey Puzzle, Karner Blues, and Psyche.
Excerpted from Elizabeth Vercoe's preface: "Butterfly Effects for flute and harp was written for the duo "2", with flutist Peter H. Bloom and harpist Mary Jane Rupert, who premiered the first parts of the piece in Bangkok and the entire work in Illinois in 2010. Along with the butterflies themselves, a quotation from Zhuangzi was the starting point for the music: "Am I a human who dreamt of being a butterfly or am I now a butterfly who dreams of being human?" The Taoist philosopher's dream illustrates, among other lessons, his sense of oneness with all living beings. // All seven movements are short, some only a minute in length. Mourningcloak, for alto flute and harp, is somber and reflective. Banded Blue Pierrot (concert flute) is short and glittering. Common Jezebel is a sultry tango for bass flute and harp that becomes increasingly chromatic and contrapuntal, requiring the harpist to do some fancy footwork. Question Mark, also for bass flute, requires the flutist to use "beat boxing" and key slap techniques that maximize the percussive qualities of the flute. Monkey Puzzle, in a kind of mimicry of the confusing antennae and pseudo antennae of the insect, flutters along to the middle of the piece and then proceeds backwards to the beginning in what is known as retrograde motion. Karner Blues adopts some of the riffs of blues instrumentalists and singers in the only movement for piccolo. Psyche, a word meaning breath or soul in Greek, is for concert flute and reminds us again of the Zhuangzi dream and the oneness of all living beings."
Butterfly Effects may be performed by one flutist playing multiple instruments, or by multiple flutists each playing one instrument for the relevant movement(s).
Our striking cover image for this publication is of the painting "Jezebel Tapestry #2" by Louisa King Fraser, used with the artist's permission.
Butterfly Effects for flute(s) and harp received a rave review by Nicole Riner in the Fall 2015 edition of the National Flute Association’s membership magazine The Flutist Quarterly. Read the review in its entirety reprinted on the NSM website with permission from the NFA, or visit the NFA website.
Peter H. Bloom gave a lecture on “Effective Writing for Flutes and the Contemporary Flutist” at the 2018 Snow Pond Composers Workshop. In his presentation, Mr. Bloom discussed various topics using four contemporary works published by Noteworthy Sheet Music, including Butterfly Effects, as examples. We later published a free text version of this excellent presentation on our website, in the Reviews and Articles section, including some of the audio clips and supplemental written materials that Mr. Bloom used as demonstrations.
The Elizabeth Vercoe CD "Butterfly Effects and Other Works" was released in November 2018. The CD is available through Navona Records and features the title track performed by duo "2". Here is a quote from Cinemusical's review of the CD: "The album opens with a multi-movement work for flutes and harp, Butterfly Effects (2009). Across the seven movements, Vercoe explores the qualities of different instruments in the flute family: alto flute, bass flute, concert flute, and piccolo. The music has a slight impressionistic quality to it, aided by the harp’s material. Against this is first a rather dreamy, dark opening movement (“Mourningcloak”); a faster-paced flitting “Banded Blue Parrot”; a tango (“Common Jezebel”); intriguing effects like beat-boxing (“Question Mark”) and blues riffs (“Karner Blues”); and a palindromic compositional technique (“Monkey Puzzle”). The flute lines allow for registral exploration and often features some sinuous lines. Some are sultrier than others, but it is as if these are all like watercolor brushstrokes that tend to be somewhat introspective in this often stunningly beautiful work." Another nice review of this CD, written by Nicole Riner, came out in the Flutist Quarterly Spring 2019 edition; here's a quote: "I had the pleasure of reviewing the sheet music for Butterfly Effects for this publication in 2015 and found it to be wonderfully diverse and intriguing. /// Bloom and Rupert perform this work deftly and with a great sense of unity”.
Flute part, 16 pages; Harp Score, 43 pages; Total, 66 pages.Preview
We also offer a printed hard copy edition of Butterfly Effects 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.