All scores that include a part for at least one alto flute.
Chaconne, BWV 1004, by J. S. Bach
Transcribed for Flute or Alto Flute by Peter H. Bloom, PDF $9.98
The Chaconne BWV 1004, originally from Johann Sebastian's Suite in D minor for unaccompanied violin, is among the most challenging, controversial, enigmatic, and magnificent works known. This transcription by Peter H. Bloom was created for unaccompanied alto flute in G or concert flute in C. Mr. Bloom is motivated by an interest in historical performance practice, devotion to the art of improvisation, fascination with the technique of the flute and alto flute, and an abiding love of this masterpiece of Bach's. As well as transposing and digitally engraving the original version of the Chaconne, Mr. Bloom provides practical, effective, and cogent performer's solutions to the many interpretive challenges that occur throughout this work.
Flute or Alto Flute part, 10 pages; Total, 12 pages.Preview
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
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
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
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
Petite Fantaisie Hongroise No.1, Op.21, by J. Bloch
Transcribed for Alto Flute and Piano by C.A.Vater
Piano Score and Alto Flute Part, PDF $5.99
József Bloch (1862-1922) was a Hungarian violin virtuoso, composer, and professor at the National Academy of Music and the National Conservatory (www.jewishencyclopedia.com). His Petite Fantaisie Hongroise No.1, Opus 21, was written for piano and violin and published by Bárd, ca. 1901. We thought this piece would work beautifully on alto flute, so we created a transcription of the violin part. In the range written for the Petite Fantaisie Hongroise, the alto flute may evoke the dark, mournful tone of the modern tárogató, which is often referred to as the Hungarian national instrument. We provide both our transcribed alto flute part and a re-notated edition of the piano score.
Alto Flute part, 3 pages; Piano Score, 6 pages; Total, 12 pages.Preview
For those who would prefer to purchase a professionally-printed hard copy of this piece, rather than the PDF download offered above, our print edition of the Bloch Petite Fantaisie Hongroise No.1, Op. 21 transcribed for Piano & Alto Flute is available directly from NSM for $13.49 plus a $5.95 shipping and handling fee to addresses in the USA. 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.
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
Trio in A Minor, Op.114, by Johannes Brahms
Transcribed for Alto Flute, Cello, and Piano by Carol A. Vater
Alto Flute Part, PDF $5.99
Johannes Brahms (1833-1897) composed the Trio in A Minor for Clarinet, Cello and Piano in 1891 and subsequently created an alternate arrangement in which viola was substituted for the clarinet. The expressive qualities, range, and rich, dark tones of the alto flute are well-suited to this beloved piece. In creating this transcription of the clarinet part for alto flute, every effort has been made to maintain the spirit and character of the original composition. We provide here the Brahms Trio in A minor alto flute part; the piano and cello parts are readily available in the public domain as free pdf downloads of the original score and parts. Here is a link to one such source: Piano Score and Cello Part
Alto Flute part, 13 pages; Total, 15 pages.Preview
Sonata, Op.120 No.1, by Johannes Brahms
Transcribed for Alto Flute by J.W.Pratt
Alto Flute Part, PDF $8.99
Although written originally for clarinet, Brahms himself created two more versions of his Op.120 sonatas, for violin and viola. John W. Pratt, who transcribed these works for alto flute so expertly, writes in his foreword: "If Brahms was happy with versions for clarinet, viola, and violin, surely he would have welcomed arrangements for alto flute, especially since it is the mellow rather than the clarion aspect of the clarinet that he called on. In making our arrangements for alto flute, the violin versions have been particularly helpful, since the violin has the same lower range as the alto flute, but they required modification for several reasons. One, of course, is that the alto flute cannot play as loudly at the bottom of its range as the violin can. Another is that Brahms gave the violin double stops even though the clarinet is limited to a single voice." Our editions of the two Op.120 sonatas include only the alto flute parts, as Brahms' piano scores are freely available in the public domain. Here is a link to the listing of Op.120 No.1 on IMSLP.org, where the clarinet, viola, and violin versions with piano scores may be found. Our alto flute arrangements are based on the usual piano parts that accompany the clarinet as the solo instrument. The entire transcription of Op.120 No.1 works remarkably well, but the breathtakingly beautiful slow movement played on alto flute will steal your heart away.
Alto Flute part, 9 pages; Total 14 pages.Preview
Sonata, Op.120 No.2, by Johannes Brahms
Transcribed for Alto Flute by J.W.Pratt
Alto Flute Part, PDF $8.99
This is the second of Brahms' two clarinet sonatas, transcribed for alto flute by John Pratt. Although written originally for clarinet, Brahms himself created two more versions of his Op.120 sonatas, for violin and viola. Mr. Pratt, who transcribed these works for alto flute so expertly, writes in his foreword: "If Brahms was happy with versions for clarinet, viola, and violin, surely he would have welcomed arrangements for alto flute, especially since it is the mellow rather than the clarion aspect of the clarinet that he called on. In making our arrangements for alto flute, the violin versions have been particularly helpful, since the violin has the same lower range as the alto flute, but they required modification for several reasons. One, of course, is that the alto flute cannot play as loudly at the bottom of its range as the violin can. Another is that Brahms gave the violin double stops even though the clarinet is limited to a single voice." Our editions of the two Op.120 sonatas include only the alto flute parts, as Brahms' piano scores are freely available in the public domain. Here is a link to the listing of Op.120 No.2 on IMSLP.org, where the clarinet, viola, and violin versions with piano scores may be found. Our alto flute arrangements are based on the usual piano parts that accompany the clarinet as the solo instrument.
Alto Flute part, 8 pages; Total, 12 pages.Preview
Cradle Song, Gondoliera, Mélodie, and Elégie, by Frank Bridge
Transcribed for Flute or Alto Flute (and Piano) by J. W. PrattPreview
Flute Part, Alto Part, PDF $11.99
Like the 4 Short Pieces for Violin and Pianoforte published in transcription by Noteworthy Sheet Music earlier this year, these additional four short pieces by Bridge "provide a fine and delightful introduction to an accessible post-romantic composer who should be better known." Published by Bridge between 1903 and 1911, the works included in our second edition are transcriptions of Cradle Song, written for violin or cello and piano, Gondoliera for violin and piano, and Mélodie and Elégie for cello and piano. Mr. Pratt has created transcriptions of all four pieces for both flute and alto flute, and we include both instrument versions in this combined edition. We think Cradle Song and Elégie are particularly beautiful on the alto flute, but all are effective on either instrument, so we prefer to let our flutists decide on which instrument they choose to play each piece. We provide our flute and alto flute parts only; the original piano scores work well with our transcriptions and are available, along with the violin and cello parts, as free pdf downloads at imslp.org—click the links to access the scores for Cradle Song, Gondoliera, Mélodie, and Elégie.
Flute part, 6 pages; Alto Flute part, 6 pages; Total, 14 pages.
4 Short Pieces, by Frank Bridge
Transcribed for Flute or Alto Flute (and Piano) by J.W.Pratt
Flute Part, Alto Part, PDF $8.99
The 4 Short Pieces by Frank Bridge were written for violin and piano, and first published in 1912. As noted in John Pratt's foreword to the edition, they "provide a fine and delightful introduction to an accessible post-romantic composer who should be better known." The pieces are "Meditation", "Spring Song", "Lullaby", and "Country Dance". Mr. Pratt has created transcriptions of the violin parts for both flute and alto flute, and we include both instrument versions in this edition. We think Nos. 1 and 3 sound particularly nice on the alto flute and No. 4 is a splendid romp on the C flute, but all four are effective on either instrument, so we prefer to let our flutists decide on which instrument they choose to play each piece. We provide only our flute and alto flute transcriptions; the piano score, including the original violin part, is available as a free pdf download at imslp.org.
Flute part, 5 pages; Alto Flute part, 5 pages; Total, 14 pages.Preview
Acht Stücke, Op.83, by Max Bruch
Transcribed for Clarinet, Alto Flute, and Piano by Davies, Pratt, and Vater
Alto Flute Part, PDF $9.98
Originally scored for clarinet, viola, and piano (or violin, cello, and piano), Bruch's Acht Stücke (Eight Pieces) adapts nicely for a trio with clarinet, alto flute, and piano. Bruch's beautiful melodies are well served by the rich tones of the alto flute.
In creating this transcription of the viola part for alto flute, we have taken great care to maintain the spirit and character of the original instrumentation. We provide here the alto flute part. The piano and clarinet parts are readily available in the public domain as free pdf downloads of the score and parts. Here is a link to one such source: Piano Score and Clarinet Part
Alto Flute part, 17 pages; Total, 19 pages.Preview
Cavatine, Op.37, by Napoléon Coste
Transcribed for Alto Flute and Piano by C.A.Vater
Piano Score and Alto Flute Part, PDF $8.25
Napoléon Coste (1805-1883) was born in a small village in the Départment of the Doubs, France. He began to play guitar at the age of 6, studying with his mother who was an accomplished guitar performer. Napoléon himself began teaching and performing on guitar as a teenager. At age 24 he moved to Paris, where he studied under Fernando Sor, the renowned Spanish classical guitarist and composer. Coste quickly established himself as a virtuoso and is widely acknowledged as the dominant French guitarist of his era.
Coste became famous not only as a guitar soloist, but also as a major composer of some 60 works, most of which were written for guitar. His Op.37 "Cavatine" is a short, single-movement piece for piano and oboe (or violin or flute). Melodic but lively in places, the work should appeal to amateurs of a moderate or higher skill level. Our transposition of Cavatine falls nicely within the range of the alto flute and sounds appealing and completely natural on that instrument. The Noteworthy Sheet Music edition includes a score for piano and alto flute, in addition to the transcribed alto flute part.
Alto Flute part, 3 pages; Piano Score, 8 pages; Total, 16 pages.Preview
Les Regrets-Cantilène, Op.36, by Napoléon Coste
Transcribed for Alto Flute or Flute (or Oboe or Violin) and Piano (or Harp or Guitar) by C.A.Vater
Score, Alto Flute Part, and alternative Flute (or Oboe or Violin) Part, PDF $5.99
Napoléon Coste (1805-1883) became famous not only as a guitar soloist, but also as a major composer of some 60 works, most of which were written for guitar. His music is in the romantic French style and appreciated for its originality. His Fantaisie, Op.36, Les Regrets-Cantilène, is a short, single-movement piece written for oboe or violin with piano or harp or guitar. We created our Noteworthy Sheet Music edition from the difficult-to-read manuscript version in the public domain, available on imslp.org. We include a score in concert pitch and a part suitable for flute, oboe or violin, as well as a part transcribed for alto flute in G. The piece falls nicely within the sweet range of the alto flute and our transposition sounds appealing and completely natural on that instrument. In fact, Les Regrets-Cantilène is gorgeous on either flute or alto flute. Melodic and sentimental, the work is not overly demanding technically and should appeal to players of a moderate or higher skill level.
Score, 4 pages; Alto Flute part, 1 page; Flute (or Oboe or Violin) part, 1 page; Total 8 pages.
Première Rhapsodie, by Claude Debussy
Transcribed for Alto Flute by C.A.Vater, with a Foreword by P.H.Bloom
Alto Flute Part ― PDF $5.99
Since its introduction as a morceau de concours for the Paris Conservatoire in 1910, Debussy's Première Rhapsodie has been an essential piece of the clarinet repertoire.... Although most of the morceaux are, by definition, run-of-the mill exercises of virtuosity à la mode, a number have endured as works of significant musical merit. Debussy's Première Rhapsodie is one such piece. It's a vehicle for expressive interpretation and artistry, with charm, warmth, passion, and humor; a lasting treasure at the core of every clarinetist's collection of indispensable works.... But a transcription? Of a work by Debussy - the great colorist of instrumental sonority? From clarinet to alto-flute?... Each and every element, in fact, evokes the alto-flute!... Of course the piece sounds different on the two instruments. Although the sonic hues are different, the colors are just as vivid. The distinct sonorities of the alto-flute support the nuance, the affect, and the power of the work. (excerpted from Peter H. Bloom © 2012)
We provide our alto flute part only; appropriate parts for piano or orchestral accompaniment may be obtained as free pdf downloads from public domain resources, such as imslp.org.
Alto Flute part, 4 pages.Preview
Song for Eric Dolphy, by Len Detlor
Edited and with a Preface by Peter H. Bloom
Contemporary Composition for Flute (or Alto Flute) Alone, $14.15
Mr. Bloom, in his Preface to Song for Eric Dolphy, writes: "Len Detlor (1941-2008) was anextraordinary artist whose creative vision, masterful technique, and depth of humanity transcended medium and category. As a composer, saxophonist and flutist, arranger, and music director, he was devoted to musical expression that was both elegantly structured and unconstrained." Len Detlor composed this evocative piece as a tribute to the legendary saxophonist, clarinetist, and flutist Eric Dolphy (1928-1964), whose recordings remain highly influential across musical genres and generations.
Flute part, 7 pages; Total, 10 pages.Preview
Ballada, Op. 15, by Antonín Dvořák
Transcribed for Alto Flute and Piano by C.A.Vater
Alto Flute Part and Piano Score, PDF $7.99
The Czech composer Antonín Leopold Dvořák (1841-1904) first visited England in 1884, at the invitation of the Philharmonic Society of London. He conducted several of his works there and and was commissioned to compose a new symphony for the Philharmonic Society, his Symphony No. 7 in D minor, Op.70, which he conducted in London on April 22, 1885. Dvořák, who was well-received in England for his longer works, including cantatas and oratorios, was asked by London publishers to write shorter compositions as well. The Ballada, composed by Dvořák in late 1884 shortly after he completed his Symphony No. 7, was written specifically for publication in the Christmas edition of the London Magazine of Music. It is a short work of approximately six minutes duration for violin and piano. Written in the key of D minor, the Ballad's outer sections are solemn and melancholy while the contrasting central Allegro agitato is fervid and intense. The piece works nicely on alto flute, and our transcription required few adaptations from the original violin part.
[Sources for Dvořák biographical information: Baker's Biographical Dictionary of Musicians (Eighth Edition, Revised by Nicolas Slonimsky) and the internet website http://www.antonin-dvorak.cz/en/ballad.]
Score, 8 pages; Alto Flute part, 3 pages; Total, 14 pages.Preview
Romance, Op. 11 by Antonín Dvořák
Arranged for Solo Flute and Flute Choir by C. A. Vater (originally for solo violin and orchestra)
Score and Parts for Solo Concert Flute, 4 Concert Flutes, 2 Alto Flutes, 2 Bass Flutes, and 1 Contrabass Flute, PDF $21.97
Czech composer Antonín Dvořák based his Romance, Opus 11 on the slow movement of his String Quartet in F minor, composed in 1873, re-working that Andante con moto quasi allegretto to create two versions of the Romance, one for solo violin and orchestra (B.39) and another for solo violin and piano (B.38). The Romance is one of Dvořák’s most magnificent melodic works, teaming with romance, lyricism, and emotional intensity. I created a solo flute version of this piece for my personal use, and I so enjoyed playing it that I shared it with a flutist friend / NSM editorial consultant, who suggested that the Romance might be nicely adaptable for flute choir. I took on that challenge and created this arrangement, scored for flute solo with the accompaniment of four concert flutes, two alto flutes, two bass flutes, and one contrabass flute. A few changes have been incorporated in the solo part, bringing the violin’s lowest notes into concert flute range and providing appropriate alternatives to the occasional double stops. Likewise, the various string and wind parts created by Dvořák for his orchestral arrangement (available on IMSLP.org) have been modified in places to suit members of the flute family. Of course, any work played by a flute choir will sound very different than when played by an orchestra, but in arranging this piece for flute choir, every effort has been made to maintain the spirit, character, balance, and flow of Dvořák’s exquisite Romance.
The parts in our edition have been formatted for convenient page turns when the complete PDF is printed 2-sided in its entirety. If a more compact version of the score is desired, however, please select a “2 pages per sheet” printer option for the score and print the score pages separately from the parts.
Score, 60 pages; Solo Flute part, 4 pages of music; Flutes 1-4 parts, each 3 pages of music; Alto Flute 1 part, 4 pages of music; Alto Flute 2 part, 3 pages of music; Contrabass Flute part, 3 pages of music; Total, 104 pages.Preview
Romantische Stücke, Op.75, by Antonín Dvořák
Transcribed for Alto Flute and Piano by J.W.Pratt and C.A.Vater
Alto Flute Part, PDF $6.99
Antonin Dvorak's Romantische Stücke (Romantic Pieces) was composed originally as a trio for two violins and viola but was later rearranged by the composer as a piece for violin and piano. We created a transcription of the violin part for alto flute; the piano part is readily available in the public domain as a free pdf download of the score for violin and piano. Here is a link to one such source: Piano Score.
Alto Flute part, 7 pages; Total, 10 pages.Preview