Noteworthy Sheet Music, LLC

Uncommon Sheet Music for Flute and Alto Flute

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alto flute

All scores that include a part for at least one alto flute.

  • Schumann, Clara - Three Romances - Alto Flute or Flute (and Piano)

    SchumannC Op22 Afl Fl nsmThree Romances, Op.22, by Clara Schumann

    Transcribed for Alto Flute or Flute (and Piano) by C.A.Vater

    Alto Flute Part and alternative Flute Part, PDF $8.99

    Clara Schumann’s Drei Romanzen für Pianoforte und Violine, Op. 22, were written in 1853 and dedicated to the Schumanns’ great friend, the famous Hungarian violin virtuoso Joseph Joachim, with whom Clara performed the Three Romances when they concertized together on tours across Europe. The Romances are lovely, short pieces; melodic and expressive, they epitomize the Romantic era and represent true chamber music in the sense that both instruments are featured comparably, rather than the piano having a merely accompaniment role. They are nicely adaptable to wind instruments, and are particularly lovely when played on alto flute. Our transcription required few modifications to bring the original violin part completely in range for alto flute and provide flute-friendly, musically-appropriate alternatives to the occasional violin double-stop. Some flutists may wish to mix and match the three movements, preferring to play one or two of the Romances on alto flute and the third on concert flute, or vice versa; so, to that end, we have included in this edition a complete alternative part adapted for C-flute. We do not provide a re-notated copy of the score, however, since high-quality PDFs of the piano and violin score are freely available in the public domain, and are easy to use along with our flute transcriptions of the violin line. To download one such PDF of the score, please visit the imslp website.

    Alto Flute part, 5 pages; Flute part, 5 pages; Total 14 pages.

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  • Glazunov - Elegy - Flute or Alto Flute

    Glazunov Elegy fl afl nsmElegy, Op.44, by Alexander Glazunov

    Transcribed for Flute or Alto Flute (and Piano) by John W. Pratt

    Parts for Flute and Alto Flute, PDF $5.99

    Alexander Konstantinovich Glazunov (1865-1936) was a major composer in the late Russian romantic tradition.  His Elegy, Op.44, was written for viola and piano in 1893.  The viola melody is readily adaptable for other instruments, since it is without double stops, and has been transcribed here by John W. Pratt for either flute or alto flute.  The piece is about 6 minutes long, elegiac but not lugubrious.  It consists of a lovely melody in 9/8 time, enhanced by a simple but warm piano accompaniment.  The NSM edition includes a flute part and an alternative alto flute part, but does not include one for piano, since a suitable score is freely available at IMSLP.org.

    Flute part, 2 pages; Alto Flute part, 2 pages; Total, 8 pages.

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  • Goepfart - Zwei Charakterstücke - Alto Flute and Piano

    Goepfart Op27 afl pf nsmZwei Charakterstücke, by Karl Eduard Goepfart

    transcribed for Alto Flute and Piano by C. A. Vater

    Alto Flute part and Piano score, PDF $8.99

    Karl Eduard Goepfart (1859-1942) was a German pianist, composer and conductor. His Zwei Charakterstücke, Op. 27(Two Character Pieces) were written for oboe and piano and first published in Leipzig in 1888. The two contrasting pieces are the very charming Mässig schnell, gehend and Mässig langsam (in ruhiger Bewegung)with its playful, energetic Lebhaft section. We prepared a transcription of this under-appreciated work for alto flute, complete with piano score. The pieces work well on alto flute, providing the accompanying pianist is sensitive to the alto flute’s lower sound power and projection capability, especially in the low register, compared to that of the oboe.

    Piano Score, 8 pages; Alto Flute part, 3 pages; Total, 16 pages.

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  • Mozart - Kegelstatt Trio - Alto Flute

    Mozart Kegelstatt Afl nsm"Kegelstatt" Trio in E-flat major, K.498, by W. A. Mozart


    Transcribed for Alto Flute, Viola, and Piano by John W. Pratt, with a Program Note by Peter H. Bloom
    Alto Flute Part, PDF $7.99

    As Editor-in-Chief of Noteworthy Sheet Music, LLC, I recently found myself in the unusual situation of having received transcriptions of the "Kegelstatt" Trio clarinet part for alto flute from two of NSM's most experienced and proficient arrangers, John W. Pratt and Peter H. Bloom. That both arrangers chose to create a "Kegelstatt" part for alto flute, and that their transcriptions were nearly identical, attests to the value of adapting this Mozart clarinet part and its natural fit for the alto flute. Our edition includes Mr. Pratt's alto flute part transcription, as well as a program note written by Mr. Bloom for his upcoming alto flute performances of the "Kegelstatt" Trio with Ensemble Aubade (Peter H. Bloom, flutes; Francis Grimes, viola; and Mary Jane Rupert, piano/harp). —cav, December, 2016

    Our edition includes only the alto flute transcription of the clarinet part; the original piano score and viola part are in the public domain and may be downloaded free of charge from IMSLP.org as good quality PDFs.


    Alto Flute part, 6 pages; Total, 10 pages.

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  • Schubert – Erlking – Duo (Vo, Vc, Va, or Afl with Pf)

    Erlkönig, by Franz Schubert

    Arranged for Cello (or Viola or Alto Flute) and Piano by John W. Pratt
    Piano Score and Parts for Cello/Voice, Viola, and Alto Flute; PDF $11.99

    Schubert Erlking Duo NSMFranz Schubert (1797-1828), inspired by reading Goethe's poem, wrote his song "Erlkönig" in a few hours in 1815. The song was an immediate hit, and continues to be popular to the present day. John Pratt has created a trio arrangement for flute, cello, and piano (click for more information), and also the duo version offered here with Schubert's solo voice part transposed for cello (or viola or alto flute), and with a less arduous alternative to Schubert's piano accompaniment.

    Excerpted from Mr. Pratt's © preface:
    "In the duo arrangement, Schubert's solo part is adopted without change. Thus the piano must provide the entire accompaniment, but rocking triplets and other pianistically felicitous passagework replace Schubert's unremitting repetition. The range of sonorities is also wider than Schubert's, though more restrained than that of the trio arrangement, where the flute enlarges the musical terrain. This accompaniment is offered as a less punishing alternative to Schubert's, to be played with a singer or any solo instrument. Solo parts are provided for voice or cello, viola, and alto flute."


    Piano score, 6 pages; Cello, Viola, and Alto Flute parts, 2 pages each; Total, 22 pages.

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    We also offer a printed hard copy edition of Erlking for $20.38 plus a $5.95 shipping and handling fee 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.

  • Beach - Ecstasy - Voice (or Afl), Alto Flute (or Cl), and Piano

    Beach Ecstasy nsmEcstasy, 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.

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  • Brahms - Drei Duette - 2 Voices and/or Instruments and Piano

    Brahms Drei-Duette nsmDrei 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.

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  • Vercoe - Butterfly Effects - Flute(s) and Harp

    vercoe.butterfly.nsmButterfly 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 QuarterlyRead the review in its entirety reprinted on the NSM website with permission from the NFA, or visit the NFA website.

    Click to view a YouTube video of the duo "2" performing Banded Blue Pierrot.

    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.

    CD cover butterfly effects finalThe 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.

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    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.

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  • Mendelssohn - On Wings of Song - Alto Flute & Piano

    MendelssohnOWOS.NSMOn Wings of Song, Op.34, No.2, by Felix Mendelssohn

    Transcribed for Alto Flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $5.99

    Having made significant contributions as a poet, essayist, journalist, and critic, Christian Johann Heinrich Heine (1797-1856) is considered one of the great German writers of the 19th century.  Many of his romantic poems were chosen as the text for Lieder by such eminent composers as Schubert, Schumann, and Brahms.  The Heine poem Auf Flügeln des Gesanges, which translates into English as On Wings of Song, was set to music by Felix Mendelssohn and published as No. 2 of six songs for voice and piano constituting his Opus 34.  Auf Flügeln des Gesanges became one of Mendelssohn's most famous art songs, and remains popular to this day.  Arrangements and transcriptions of the music have been created for small orchestra, flute and guitar, flute and piano, violin and piano, two violins, cello and piano, treble choir, and piano solo, among others.  With its charming, simple melody and narrow pitch range, On Wings of Song is highly accessible and understandably a favorite of vocal and instrumental soloists of all levels.  Our transcription is in the key of G, and the song is especially mellow and lovely when played on alto flute. 

    Alto Flute part, 1 page; Piano Score, 4 pages; Total, 8 pages.

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    We also offer a professionally-printed hard copy edition of On Wings of Song for $10.18 plus a shipping and handling fee. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your 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.

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  • Elgar - Chanson de Matin - AFl & Pf

    elgar chanson-de-matin afl-and-pf nsmChanson de Matin, Op.15, No.2, by Edward Elgar

    Transcribed for Alto flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $6.99

    Edward Elgar composed his Chanson de Matin for violin and piano c.1889-1890.  The two companion pieces, Chanson de Matin (No. 2) and Chanson de Nuit (No. 1), together constitute his Op.15, and both pieces were later arranged for small orchestra by the composer.  Chanson de Matin was received with great enthusiasm, and its initial and lasting popularity can be attributed largely to its strong melodic appeal.  Enduring public affection for the piece has spawned the creation of numerous arrangements and transcriptions, including renditions for cello and piano, viola and piano, flute and guitar, piano solo, organ solo, and string quartet.  Noteworthy Sheet Music offers two of our own transcriptions of the lovely Chanson de Matin, one for alto flute and piano and one for C-flute and piano.

    Alto Flute part, 2 pages; Piano Score, 4 pages; Total, 12 pages.

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  • Fauré - Pièce - Alto Flute & Piano

    faure piece nsmPièce (Vocalise-Étude), by Gabriel Fauré

    Transcribed for Alto Flute and Piano by C.A.Vater

    Alto Flute Part and Piano Score, PDF $4.99

    Vocalises are songs without words written to provide technical challenges for singers; they are designed to develop flexibility and control, and thus often serve as vocal warm-up exercises.  Gabriel Fauré composed his Vocalise-Étude in 1906, and it was published by Leduc the following year.  The original piece, in the key of E minor and marked Adagio molto tranquillo, includes a piano accompaniment and incorporates various difficulties for the vocal soloist, including wide intervals, unexpected harmonies, and demanding rhythms.

    Fauré's Vocalise-Étude has long been recognized as a particularly lovely and poignant piece of music, not merely a vocal exercise but a musical work of intrinsic beauty.  Under its alternative name Pièce, the Vocalise-Étude has been transcribed for various orchestral instruments, including bassoon and piano, flute and piano, and oboe and harp.  We at Noteworthy Sheet Music think the alto flute, with its rich, mellow tone, is the perfect instrument for this moving and somewhat melancholy Fauré melody.  Our transcription for alto flute and piano is based on the version of the Vocalise-Étude for medium voice, in the key of D minor, published by Alphonse Leduc in 1907 and now in the public domain.

    Alto Flute part, 1 page; Piano Score, 3 pages; Total, 8 pages.

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