All scores that include a part for at least one woodwind instrument.
Prelude 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.Preview
Concert Piece No.2, Op.114, by Felix Mendelssohn
Transcribed for Various Wind Instruments (and piano) by John W. Pratt
(originally for Clarinet, Basset Horn, and Piano)
Primo parts for Clarinet, Flute, or Oboe, PDFs $5.99 each
Secondo parts for Bassoon, Clarinet, or English Horn, PDFs $5.99 each
The following is excerpted from John Pratt's © foreword:
In 1833, Felix Mendelssohn (1809-1847) wrote two Concert Pieces for Clarinet, Basset Horn, and Piano, op. 113 and op. 114, as show-pieces for the famous clarinetist Heinrich Bärmann (1784-1847) to play with his up-and-coming son Karl (1811-1885) on the basset horn. // These works are very suitable for transcription, even aside from the rarity of the basset horn today. We provide, as well as the original clarinet part, transcriptions of it for flute and oboe. Transcriptions of the basset horn part are provided for bassoon, clarinet, and English horn. These primo and secondo parts can be mixed and matched at will. // Since a good quality PDF of the original piano score with excellent page turns is freely available in the public domain (see IMSLP.org), we have not provided a score here; our transcribed primo and secondo wind parts can readily be used with the original score.
Each wind part is 4 pages of music; 6 pages total.
Primo parts for Flute, Clarinet in B-flat (note that the original primo clarinet part is freely available on IMSLP.org), or Oboe.
Secondo parts for Clarinet in B-flat, Bassoon, or English Horn. Preview Bassoon II part
Concert Piece No.1, Op.113, by Felix Mendelssohn
Transcribed for Various Wind Instruments and Piano by John W. Pratt
(originally for Clarinet, Basset Horn, and Piano)
Individual Primo parts for Clarinet, Flute, or Oboe, PDFs $5.99 each
Individual Secondo parts for Bassoon, Clarinet, or English Horn, PDFs $5.99 each
Piano Score, with original Clarinet and Basset Horn parts in concert pitch, PDF $6.99
Piano Score (original winds in concert pitch), Flute & Clarinet Parts, PDF $13.99
Piano Score (original winds in concert pitch), Clarinet & Bassoon Parts, PDF $13.99
The following is excerpted from John Pratt's © foreword:
"In 1833, Felix Mendelssohn (1809-1847) wrote two Concert Pieces for Clarinet, Basset Horn, and Piano, op. 113 and op. 114, as show-pieces for the famous clarinetist Heinrich Bärmann (1784-1847) to play with his up-and-coming son Karl (1811-1885) on the basset horn. // Mendelssohn's two Concert Pieces are very suitable for transcription, even aside from the rarity of the basset horn today. We provide, as well as the original clarinet part, transcriptions of it for flute and oboe. Transcriptions of the basset horn part are provided for bassoon, clarinet, and English horn. These primo and secondo parts can be mixed and matched at will. For the score, we use Mendelssohn's instruments rather than some other arbitrary pair. This enables anyone interested to check any transcribed part against the original. The score gives the parts in concert pitch, because a transposition would apply to only one of the possible winds, and because the pianist can then easily play any part at original pitch."
Please note that PDFs of the original score and clarinet-primo part are available free of charge in the public domain (see the listing of this work on IMSLP.org), and our transcribed primo and secondo wind parts can readily be used with the original score. Therefore, you should purchase our Score and/or Clarinet-primo part only if you would like Mr. Pratt's concert pitch version of the score (for piano with clarinet and basset horn) and/or would like to take advantage of the price break provided by one of our complete trio editions.
Complete Edition for Flute, Clarinet, and Piano; PDF $13.99
Score, 8 pages; Flute Part, 4 pages; Clarinet Part, 4 pages, Total, 24 pages.Preview Flute I part
Score, 8 pages; Clarinet Part, 4 pages, Bassoon Part, 4 pages; Total, 24 pages. Preview Bassoon II part
Clarinet in B-flat, primo part, 4 pages; Total, 6 pages; PDF $5.99 (note that the original clarinet part is freely available on IMSLP.org)
Flute, primo part, 4 pages; Total, 6 pages; PDF $5.99
Oboe, primo part, 4 pages; Total, 6 pages; PDF $5.99
Bassoon, secondo part, 4 pages; Total, 6 pages; PDF $5.99
Clarinet in B-flat, secondo part, 4 pages; Total, 6 pages; PDF $5.99
English Horn, secondo part, 4 pages; Total, 6 pages; PDF $5.99
Trio, Hob. XV:18, by Franz Joseph Haydn
transposed to B-flat major and arranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, B-flat Clarinet, and Bassoon; PDF $20.97
As noted in the arranger’s forward to the edition, the later piano trios of Franz Joseph Haydn (1732-1809) are superb music, but because they were written for excellent pianists and weak string players, they are dominated by the piano part. This imbalance among the parts actually makes the trios highly amenable to and effective in arrangement for woodwind quartet. Written after Haydn’s first visit to London, the Piano Trio in A major, Hob. XV:18, was first published in 1794. The first of its three movements, a flowing Allegro moderato, is unified by ingenious use of the three-note motif opening its cantabile main theme. The lovely middle Andante, in ABA form and 6/8 meter, features some luxurious ornamentation and proceeds attacca to the spirited and humorous Allegro finale. The resources of a woodwind quartet are well suited to the musical ideas of this trio, and the arrangement adapts Haydn’s piano, violin, and cello lines wonderfully to the range and sonority of the instruments used: flute, oboe, B-flat clarinet, and bassoon. This adaptation is facilitated by transposition from Haydn’s original key of A major to B-flat major. We provide parts plus a score in concert pitch.
Click to listen to computer-generated audio samples from the score; audio clips from movements I (m44.4 - m64.3), II (m0 - m4.5 & m49.6 - m54.5), and III (m36.2.2 - m48) are separated by brief pauses.
Score in concert pitch, 21 pages; Flute part, 8 pages; Oboe part, 6 pages; B♭-Clarinet part, 5 pages; Bassoon part, 5 pages; Total, 52 pages.Preview
Trio, Hob. XV:25 ‘Gypsy’, by Franz Joseph Haydn
arranged for Woodwind Quartet by John W. Pratt
Score and Parts for Flute, Oboe, B♭-Clarinet, and Bassoon; plus, an alternative A-Clarinet part; PDF $16.97
Short summary adapted by NSM from John W. Pratt’s foreword to the edition:The trios Hob. XV: 24-26 were, in Robbins Landon’s account (Haydn, Indiana, 1976), probably the last works Haydn delivered to his publishers before he left England in 1795. They were written for strong amateur pianists and weak string players, and although the string parts are essential for their effects on sonority, they are not terribly interesting. Such a scenario lends itself beautifully to arrangement of these piano trios for wind quartet.
Haydn labeled the finale of Hob. XV: 25 "in the Gypsies' style", and the trio became an enormous favorite. In the key of G, it opens with a particularly lovely slow movement having alternating minor and major variations. The third variation is in the relative minor (e), anticipating the key, E major, of the even slower, but subtle and melodically rich, second movement. This retardation heightens the effect of the famous finale.
We have provided alternative parts for clarinet in B-flat and in clarinet in A. Some players may wish to use the A-clarinet only in the second movement, for the sake of the friendlier key signature and perhaps also for sound, depending on the instrument.
Click to listen to computer-generated audio samples from the score; audio clips from movements I (m42-48, m72-78), II (m57-63), and III (168-190) are separated by brief pauses.
Score in concert pitch, 17 pages; Flute part, 6 pages; Oboe part, 4 pages; B♭-Clarinet part, 6 pages; Bassoon part, 4 pages; alternative part for A-Clarinet, 6 pages; Total, 56 pages.Preview
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.
Na Rua dos Meus Ciúmes, Traditional Fado
Arranged for Woodwind Quintet by Antonio F. Figueiredo
Parts and Score, PDF $10.00
Na Rua Dos Meus Ciúmes is a traditional Portugese fado, still highly popular among recording artists today. This passionate love song tells the story of the intense jealousy experienced by a girl upon seeing her lover pass by with another woman on the street near her home. Though her pain is palpable, the girl is proud and determined to endure her suffering resolutely and without tears.
Antonio Figueiredo was born in the Azores, Portugal, and now resides in Massachusetts. He grew up listening to (and falling in love with) fado music, with all its romance and passion, and its timeless themes of love, loss, jealousy, poverty, and the sea. Figueiredo is a bassoonist who plays regularly in various orchestras and chamber music groups in the Boston area. He enjoys arranging folk tunes for woodwind quintet, and he created this delightful and engaging arrangement of Na Rua Dos Meus Ciúmes for one of his own groups. The piece is scored for flute, oboe, clarinet in B-flat, horn in F, and bassoon.
"This brief piece is a charming addition to the quintet repertory." Read John Ranck's full review of Figueiredo's arrangement of Na Rua Dos Meus Ciúmes.
Score, 5 pages; Parts, 1 page each; Total, 12 pages.Preview
Danzas Mecánicas, by Peter Van Zandt Lane
Contemporary Composition for Wind Quintet, PDF $30.00
Peter Van Zandt Lane is a Boston-based composer and bassoonist. His compositions have been performed across the United States, as well as in Europe and South America, by acclaimed musicians and ensembles such as The Cleveland Orchestra, SIGNAL, International Contemporary Ensemble, Dinosaur Annex, New York Virtuoso Singers, Triton Brass, Xanthos Ensemble, East Coast Composers Ensemble, EAR Duo, Quux Collective, and NotaRiotous. He has written for chamber ensemble, wind ensemble, orchestra, and choir, and often employs the use of electronics in his works.
Lane's Danzas Mecánicas - for woodwind quintet (2011) is an exciting 3-movement, 10-minute piece of fairly high difficulty scored for flute, oboe, clarinet, horn, and bassoon. A recording of the piece performed by the Solar Winds Quintet at Slosberg Hall, Brandeis University, in October, 2013 can be heard on YouTube.
Score, 26 pages; Parts, 49 pages; Total, 78 pages.Preview
Prelude 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.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.
Snow Pond Composers Workshop Anthology New Music for Flute 2015
Edited by Joshua Tomlinson, PDF $21.95
The first annual Snow Pond Composers Workshop took place June 7-13, 2015, under the direction of Edward Jacobs and Richard Nelson. The workshop was part of the broader Snow Pond Music Festival taking place in Sidney, Maine. Peter H. Bloom was the Visiting Performing Artist, and Elliott Schwartz was the Guest Composer. The Snow Pond Composers Workshop Anthology—New Music for Flute 2015, edited by Joshua Tomlinson, includes all of the scores presented at the workshop:
ED by Sean O. G. Burns | one player, on flute with kick drum and voice
Where Wind Blows by William C. Edwards | solo flute
Farewell to Charms by Henry Feinberg | solo flute
Amuse-Bouche by Edward Jacobs | solo flute
Published by American Composers Alliance, reprinted with permission.
Stillness by Richard Nelson | trumpet, saxophone, guitar, bass, and drums/percussion;
or, flute and electric guitar (or other small combination of instruments)
Party On, Bloom! by Alan Racadag | one player, on piccolo, C-flute, alto flute,
and optional bass flute
Soliloquy III by Elliott Schwartz | one player, on flute, piccolo, alto flute, and piano
Published by American Composers Alliance, reprinted with permission.
Something Human by Joshua Tomlinson | solo flute
Indecision (...or maybe not) by Isaac Ward | solo flute
Vyvirian Folk Songs by Julian Ward | solo flute
Quicksilver by Joshua Zinn | solo flute
This is a remarkable collection of new music for flute, which Noteworthy Sheet Music is pleased to make available to the broader flute community. Our edition includes composer biographies and performance notes, as well as the scores.Scores, 39 pages of music; Total, 64 pages.
Awarded 2018: Congratulations to composer Edward Jacobs on being awarded a prestigious Guggenheim Foundation Fellowship.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 Amuse-Bouche and Soliloquy III, 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... click the link to access the text version.===========================================================We also offer a plastic-comb-bound print edition of the Snow Pond Anthology for $37.32 plus a $5.99 shipping and handling fee. 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.===========================================================
We Gather Together, by Adrianus Valerius
Arranged for Woodwind Quintet by John W. Pratt
Score and Parts for Flute, Oboe, Bb Clarinet, F Horn, and Bassoon; PDF $5.99
Wilt heden nu treden, nowadays more commonly known as We Gather Together, is a Christian hymn of Dutch origin composed by Adrianus Valerius and first published in 1626 (imslp.org); it was later harmonized by Eduard Kremser (en.wikipedia.org). In the United States, We Gather Together is the most popular song traditionally associated with the Thanksgiving holiday. John Pratt has created an arrangement of We Gather Together for woodwind quintet that lends new excitement and interesting harmonies to this old favorite. In his family, the tradition goes back as far as John Pratt (b. 1931) can remember, and when it fell to him to play all three stanzas at his family's annual gathering, he got interested in livening it up. The opportunistic half-step modulations introduced to help amateur voices warm up also brighten successive stanzas for winds. Our Noteworthy Sheet Music edition includes a score in concert pitch, as well as parts for flute, oboe, Bb clarinet, horn in F, and bassoon.
Note that for this publication, the parts should be printed one-sided since they are only one page each and we have not inserted blank filler pages.
Score, 3 pages; Parts for Flute, Oboe, Bb Clarinet, F Horn, and Bassoon, 1 page each; Total, 10 pages.Preview
Drei Duette, Op.20, by Johannes Brahms
Transcribed for Mixed Voice, Instruments, and Piano by John W. Pratt
Score for Soprano, Alto, and Piano; Transcribed upper voice Parts for Violin/Oboe, Alto Flute, and A-Clarinet; and Transcribed lower voice Parts for Violin/Oboe, Alto Flute, A-Clarinet, and Viola; PDF $12.99
Composed in 1858–1860, the Drei Duette, Op. 20, for soprano and alto are the earliest of Johannes Brahms' duets and quartets for solo voices and piano. The three songs are titled Weg der Liebe (1. Teil), Weg der Liebe (2.Teil), and Die Meere. Except for brief canonic passages in No. 1, the voices have the same words, sung simultaneously, mostly in parallel thirds and sixths. The accompaniments are straightforward, without Brahmsian ensemble challenges but not without harmonic interest. Many have found the songs Mendelssohnian. The words come from the collection Stimmen der Völker of Johann Gottfried Herder (1744–1803). The first two are translations by Herder of two parts of a Northern English folk poem Love will find out the Way. The third is Italian in origin.
The vocal parts lie well for many instruments, opening the possibility of mixed voice and instrument, as well as fully-instrumental, performances. If one voice is replaced by an instrument, no words will be lost and the result will be a song with wonderful instrumental obbligato and piano accompaniment. If two instruments are used, the result is a beautiful "song without words." We include in our edition transcriptions of both voices for oboe/violin, alto flute in G, and clarinet in A, and of the lower voice for viola as well. Our transcriptions provide slurs to suggest a vocal style to instrumental players and to facilitate coordination of the instrumental parts with those of the voices. We also provide a re-notated piano/vocal score, in which repeat signs are used in the second and third songs to save page turns, rather than writing out the multiple stanzas as in the original. For those needing only the piano/vocal score, the Breitkopf & Härtel edition is in the public domain and freely available on imslp.org.
Piano/Vocal Score, 10 pages; Instrumental Parts, 3 pages each; Total, 42 pages.Preview
Toccata, 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.Preview
For Children, by Béla Bartók
piano pieces based on Hungarian and Slovakian folksongs
Selected pieces arranged as woodwind duos, trios, or quartets by John W. Pratt and presented in multiple editions, organized by instrumentation and nationality.
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. —extracted from the preface by JWP
John Pratt has arranged selected pieces from the For Children books as various duos, trios, and quartets for wind instruments. As presented originally by Bartók, many of the folksongs are entirely or mostly in 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 duos of flute or oboe and clarinet or bassoon, mostly by spreading the left-hand chords in time. Still others of the For Children pieces are more suitable for a wind trio of flute (or oboe), B-flat clarinet, and bassoon, or a quartet of flute, oboe, B-flat clarinet, and bassoon. To compare the specific songs included in our editions with the complete set arranged for piano available in Bartók’s publications, visit the For Children listing on imslp.org.
All of the NSM editions described below are available as downloadable PDFs. We provide scores, but not separate parts, as all players can easily play off copies of the scores, which are organized for convenient page turns when the PDFs are printed two-sided in their entirety. Click the Preview button to view a page of the score from each edition. To order, in the table at the bottom of this webpage, check the box for the edition you would like to purchase, click Add to Cart, then click Checkout.
► Bartók - For Children, Book 1 - selected pieces arr. as Duets for Flute (or Oboe) and Clarinet
This edition includes 25 pieces from Book 1 arranged as duets; all of them can be played by B-flat clarinet and either flute or oboe, but for six of the pieces we also include alternative versions with octave changes that are better suited to oboe. The pieces included are Nos. 1-15, 22-26, 29, 31, 21, 40, and 42. 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 - selected pieces arr. as Duets for Oboe (or Flute) and Bassoon
Our oboe (or flute) and bassoon edition includes the same 25 pieces from Book 1 as our flute and clarinet edition described above, except here they are arranged and optimized as duets for oboe and bassoon, with alternative versions better suited for flute and bassoon provided for two of the folksongs.Score, 21 pages; Total, 24 pages.
Preview: Book 1, Oboe (or Flute) and Bassoon
► Bartók - For Children, Book 2 - selected pieces arr. as Duetsfor Flute (or Oboe) and Clarinet
Our Book 2 edition of arrangements for flute (or oboe) and clarinet duo includes 23 pieces: Nos. 1-6, 8, 10-13, 16-20, 22, 25, 26, 29, 31, 35, and 36. All of these pieces can be played by B-flat clarinet and either flute or oboe, but we also include alternative versions that are more suitable for oboe for three of the pieces.Score, 17 pages; Total, 22 pages.
Preview: Book 2, Flute (or Oboe) and Clarinet
► Bartók - For Children, Book 2 - selected pieces arranged as Duetsfor Oboe (or Flute) and Bassoon
The oboe (or flute) and bassoon edition includes the same 23 pieces from Book 2 described above for flute and clarinet, here arranged and optimized as duets for oboe and bassoon, with an alternative version better suited for flute for one of the pieces.Score, 15 pages; Total, 18 pages.
Preview: Book 2, Oboe (or Flute) and Bassoon
► Bartók - For Children, Book 1 - selected pieces arranged as Triosfor Flute (or Oboe), Clarinet, and Bassoon
In this trio edition, we present 20 songs from Book 1, including 14 that are also available as duo arrangements in the editions listed above and 6 that are only offered in our trio edition. The pieces are Nos. 1-9, 11, 13-15, 19, 20, 30, 35, 39, 41, and 42. The trios are arranged for flute or oboe, B-flat clarinet, and bassoon. Click to listen to a computer-generated audio sample from #39 "Insect Wedding".
Score, 21 pages; Total, 24 pages.
Preview: Book 1, Flute (or Oboe), Clarinet, and Bassoon Trio
► Bartók - For Children, Book 2 - selected pieces arranged as Trios for Flute (or Oboe), Clarinet, and Bassoon
Here Mr. Pratt offers eighteen of Bartók’s Book 2 Slovakian folksongs in arrangements for a woodwind trio of flute or oboe, B-flat clarinet, and bassoon; the pieces included are Nos. 2, 3, 7, 9, 11-14, 16, 17, 21, 25, 26, 28, 29, 32, 33, and 42. Ten of these songs are also included in our duo arrangement publications.Score, 18 pages; Total, 22 pages.
Preview: Book 2 Flute (or Oboe), Clarinet, and Bassoon Trio
► Bartók - For Children, Book 1 - selected pieces arranged for Wind Quartet (Flute, Oboe, Clarinet, and Bassoon)
This edition includes eleven of Bartók’s Hungarian folksongs in arrangements for a woodwind quartet of flute, oboe, B-flat clarinet, and bassoon. Two of these songs, Nos. 19 and 20, are also included in our trio arrangement publication, but none are replicated in the duo arrangement editions; the quartet publication includes Book 1 Nos. 16-21, 27, 28, and 36-38.
Preview: Book 1, Flute, Oboe, Clarinet, and Bassoon Quartet
Early Sonatas, by Franz Joseph Haydn
Arranged as Woodwind Duets by John W. Pratt (originally for keyboard)
Even the earliest of Franz Joseph Haydn’s keyboard sonatas have great rhythmic variety and vitality, and are delightful when played with verve. They are mostly in two voices, and even where not, their early classical harmonies are easily conveyed by two instruments. They incorporate few pianistic effects and lie comfortably within range for flute or oboe and bassoon or clarinet, and thus make natural woodwind duets of lively, interesting music. All these editions include a score and parts. Those wishing to consult the keyboard editions of the Haydn sonatas, from which Mr. Pratt created his arrangements, can find them at imslp.org. (Adapted from J. W. Pratt’s preface to the edition.)
Cover image “Decorations of the Sala Terrena, Eszterházy Palace in Fertőd, Hungary“ by Monyesz, Creative Commons Attribution-Share Alike 3.0 Unported license.
--------------------------------------------------------------------------------►Early Haydn Sonatas arranged by John W. Pratt as Duets for Flute and Bassoon, Vol. 1, Nos. 1-7This edition includes seven of Haydn's early keyboard sonatas arranged as duets for flute and bassoon. John Pratt's creation of these duets was inspired by a desire to offer two of his music colleagues some new music to enjoy, as they had exhausted their available flute and bassoon duo repertoire. These duets work nicely for winds and are fun to play. For a sense of how they sound when played by flute and bassoon, click below to listen to a computer-generated audio excerpt: the first 45” of the recording come from the Andante of Sonata 5 (Hob. XVI:11), followed by 25” of the Sonata 6 (Hob. XVI:10) Presto. Alternatively, the flute part can be played on oboe, making these sonata arrangements nicely amenable to oboe and bassoon duos as well.Score, 26 pages; Flute part, 14 pages; Bassoon part, 11 pages; Total, 54 pages; PDF $14.75
Preview: Vol.1, Nos. 1-7, Flute and Bassoon
--------------------------------------------------------------------------------►Early Haydn Sonatas arranged by John W. Pratt as Duets for Flute and B-flatClarinet, Vol. 1, Nos. 1-7Please see the description above for Volume 1 of Haydn’s early keyboard sonatas arranged as duets for flute and bassoon. Our flute and clarinet edition of Vol. 1 contains the same seven sonatas, here arranged for flute (or oboe) and B-flat clarinet. Click to listen to a computer-generated audio clip of two excerpts: the first 27” of the recording come from the Andante of Sonata 1 (Hob. XVI:8), followed by 26” of the Scherzo from Sonata 3 (Hob. XVI:9).Score, 26 pages; Flute part, 14 pages; Clarinet part, 11 pages; Total, 54 pages; PDF $14.75
Preview: Vol.1, Nos. 1-7, Flute and Clarinet
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
Play of Light, by Richard Nelson
Contemporary Composition for Flute (doubling piccolo & bass flute) and Harp
Score and Flute Part, PDF $15.25
Play of Light, for flute and harp, was written for the duo "2" (Peter H. Bloom and Mary Jane Rupert). The piece is built around spaciousness, transparency, multi-hued shadings and playful chases. The incorporation of bass flute and piccolo further enhances the inherently rich color possibilities of the flute/harp combination—the three flute instruments in succession form a sort of "super-flute" in the work's final section.
Drawing on his jazz and improvisation background, composer Richard Nelson in this composition leads the players into a substantial section that they complete through improvisation. While they follow signposts on intensity, energy and pitch content that he provides, this practice nonetheless creates an element of intrigue and unpredictability that the composer values highly. It also assures that each performance of the piece will have a strongly individual profile.
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 Play of Light, 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.
Score, 23 pages; Flute part, 9 pages; Total, 36 pages.Preview
We also offer a print version of Play of Light by Richard Nelson, for those who prefer to purchase the work as a professionally-printed hard copy. Due to prohibitively high international shipping rates, we ship print editions only to addresses in the USA. The cost of the hard copy edition of Play of Light is $25.93, plus a $5.95 shipping and handling fee. Please use the Contact Us form to let us know which print 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.
From the Drawer, by Peter H. Bloom
Contemporary Composition for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet in B-flat, Bassoon, and Horn in F
Score and Parts, PDF $13.99
Peter H. Bloom is a Boston-based flutist, whose original compositions and arrangements are published by Noteworthy Sheet Music. From the Drawer was written for Tenor or Soprano, with Flute (doubling Piccolo), Clarinet, Bassoon, and Horn, and provides a musical setting for the intensely emotional poem by Constantine Cavafy.
Here are Peter Bloom's comments about From the Drawer from the composer's 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
Our sheet music edition of From the Drawer was featured on the New Products page of the Summer 2016 edition of "The Flutist Quarterly", journal of The National Flute Association.
Score, 14 pages; Tenor or Soprano part, 2 pages; Flute part, 4 pages; Clarinet part, 3 pages; Bassoon part, 3 pages; Horn part, 3 pages; Total, 29 pages.
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.
Romance, by Alexander Scriabin
Transcribed for Clarinet or Flute or Alto Flute (and Piano) by J. W. Pratt
Parts, PDF $0.00
Alexander Scriabin (1872-1915), the mystic Russian composer with music to match, wrote nine mind-bending orchestral works and myriad mostly miniature piano pieces. He began as a "Russian Chopin" and ended planning a week-long "Mysterium" to be performed in the Himalayas using "an orchestra, a large mixed choir, an instrument with visual effects, dancers, a procession, incense, and... mists and lights" (Wikipedia).
The Romance of 1890, his only chamber work except one variation for string quartet, is nearer the Chopin end of that spectrum, though the piano part adds harmonic and rhythmic complexities not evident from the solo part alone.
- John W. Pratt, Jan. 19, 2016
Please click on the links to download your free PDFs:
Transcription for clarinet required no changes of pitch. Scriabin - Romance - Clarinet
The transcription for flute is raised an octave, except the last five measures. Scriabin - Romance - Flute
The transcription for alto flute raises MM21-24 and MM36-48 an octave. Scriabin - Romance - Alto Flute
The piano score is freely available on IMSLP.org.
Scriabin image courtesy of Wikimedia.org, PD-old.